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Relevant bibliographies by topics / Greek Ilias (Homerus)

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Academic literature on the topic 'Greek Ilias (Homerus)'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Greek Ilias (Homerus)"

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Ferdous, Mafruha. "Reading Homer’s The Iliad in 21st Century." Advances in Language and Literary Studies 8, no. 2 (2017): 101. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.101.

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Homer's Iliad refers to an epic story written by the ancient Greek poet Homer, which makes an account of the most significant events that earmarked the very last days which defined the Trojan War and the Greek siege of the city of Troy. Troy was also known as Ilium, Ilion, or Ilois in the past. Having made to center around the events of the Trojan War, Homer’s Iliad is a work of art that paints to all of us interested in literature, what really happened in the past. The paper purposes to provide invaluable insights regarding the significance of Homer’s Iliad today and what it teaches us about poetry and the ancient culture of the Greeks.

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Riddiford, Alexander. "Homer's Iliad and the Meghanādbadha Kābya of Michael Madhusūdan Datta." Bulletin of the School of Oriental and African Studies 72, no. 2 (2009): 335–56. http://dx.doi.org/10.1017/s0041977x09000548.

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AbstractThe debt owed to Homer's Iliad by the Meghanādbadha Kābya (1861), Michael Madhusūdan Datta's Bengali epic and masterpiece, has long been recognized but has never been examined with any close or academically sensitive reference to the Greek poem. This study sets out to examine the use of the Homeric epic as a model for the Bengali poem, with particular regard to character correspondences, the figure of the simile and narrative structure. In addition to this close analysis, Datta's response to the Iliad will be set in the context of contemporary (and earlier) British receptions of the Homeric poem: the Bengali poet's reading of the Greek epic, far from being idiosyncratic (“colonial”), in fact bears the marks of a close engagement with contemporary British appreciation of the poem.

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Fisher, R. K. "The Concept of Miracle in Homer." Antichthon 29 (1995): 1–14. http://dx.doi.org/10.1017/s0066477400000903.

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My aim is to establish whether there is a concept of ‘miracle’ or ‘the miraculous’ implicit in the Homeric poems (and therefore perceived and understood by Homer's audience). Such a question is fraught with difficulties, as it necessarily involves broader (and still widely debated) issues such as Homeric man's view of the gods and the essential nature of the early Greek oral epic tradition. But, if an answer can be found, it should in the process help us to gain more insight into those wider issues—the theological basis of the Iliad and the Odyssey, and the world-view of Homer's audience.

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Ishtiaq, Muhammad. "HOMER’S CONCEPTION OF HONOUR AND GLORY IN THE ILIAD." International Journal of Research -GRANTHAALAYAH 7, no. 8 (2019): 104–10. http://dx.doi.org/10.29121/granthaalayah.v7.i8.2019.643.

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The Iliad is an ancient Greek epic poem which portrays the duration of Trojan War along with battle and events between King Agamemnon and the warrior Achilles. In this paper, the honour and glory of ancient Greek civilization has been discussed in context of The Iliad. The definitions of honour and glory has been discussed along with what motivated the ancient warriors to fight for honour and glory. This study has been carried out to find out the importance standards of honour and glory along with the importance of honour and glory in lives of Greek warriors. One of the central ideas of the Iliad is the honour that soldiers earn in combat. For an ancient Greek man, the ability to perform in battle is the single greatest source of worthiness. The glory earned by soldiers on the battlefield enabled them to live on in legend, becoming heroes who would be remembered long after death. This essence of honour and glory has been discussed in this paper. This paper has also emphasized on the heroic honour of the Greek warriors as performance of war was the simplest measurement tool to measure the heroic honour of the warriors.

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Nguyen, Viet Hung. "ARTISTS CHANTING - NARRATING EPIC POEMS PROFESSIONAL OR UNPROFESSIONAL?" UED Journal of Social Sciences, Humanities and Education 10, Special (2020): 62–69. http://dx.doi.org/10.47393/jshe.v10ispecial.881.

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Homer’s creative works Iliad, Odyssey have undergone a history of thousands of years, but the Homeric issues have never ceased to be new to generations of researchers. There still remain unanswered questions: Was Homer a professional writer or a folk artist? Did his epical compositions belong to the written or oral literary genre? Were Homer's poems the works of a single poet or of many contributors? We refer to Homer as an artist, a collector and compiler of Greek epics in relation to the type of epic artists in Vietnam. A study of the artists chanting-narrating epic poems from various perspectives: society - profession (professional or amateur?), mode of artistic creation (folk or scholarly?), the relationship between performance and context (ritualistic or non-ritualistic?) ... will clarify the characteristics of the artists chanting - narrating epic poems and the nature of the artistic creation process, and probably put forward suggestions for the preservation of the epic repertoire of ethnic groups.

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Heidari, Ali, and Nozar Niazi. "Parallelizing Rostam and Sohrab with Achilles and Hector in Matthew Arnold’s Poem “Sohrab and Rustum”." Review of European Studies 10, no. 1 (2017): 7. http://dx.doi.org/10.5539/res.v10n1p7.

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In translating “Rostam and Sohrab”, one of the most delightful stories in Shahnameh, Matthew Arnold did not stay true to Ferdowsi’s version. Instead, he opted to veer more into Homer’s The Iliad. The Homeric atmosphere hovering over the poem is exactly one of the factors that made Arnold’s poem universally famous. One of the scenes that Arnold intentionally, and most cleverly, copied in his rendition of Rostam and Sohrab was the battle between the Greek hero Achilles and the Trojan hero Hector, which he depicted under the heavy influence of Homer’s The Iliad. The present article is an attempt to demonstrate this parallelization which can be found in the overall framework of Arnold’s poem, especially in the battles between Rustum and Sohrab with that of Achilles and Hector.

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RUIJGH, CORNELIS J. "The source and the structure of Homer's epic poetry." European Review 12, no. 4 (2004): 527–42. http://dx.doi.org/10.1017/s1062798704000456.

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Homer's Iliad and Odyssey were created, probably in the second half of the 9th century BC, in the framework of the Greek epic tradition of oral formulaic poetry, which started in the Peloponnese in proto-Mycenaean times (c. 1600 BC). The epic verse, the dactylic hexameter, must have been taken over from the Minoan Cretans. Whereas most 19th century scholars were analysts, considering Homer's epics' conflations of older and more recent epic poems, most modern scholars are unitarians, recognizing the unity of both epics, thanks to modern insights in the nature of oral traditional poetry and to modern narratology. Although many modern scholars ascribe the Odyssey to a later poet than that of the Iliad, there are no convincing arguments against the Ancients' opinion that both epics are the work of one single poet called Homer. Both Iliad and Odyssey are characterized by the principle of ‘unity of action’, a principle not found in other ancient epic poetry. There are reasons to suppose that Homer learnt the art of epic versification in Smyrna, his native city, by listening to performances of Aeolic singers. Driven by Ionic self-consciousness he transposed the epic Aeolic Kunstsprache into Ionic, thus creating the so-called Homeric dialect. He could perform his monumental epics at great religious festivals and at the courts of princes. There is evidence that he gave performances in the island of Euboea, the only prosperous region of the contemporary Greek world, and that there his epics were eventually written down. Thus, Homer's epics are the end-point of the oral epic tradition and the starting point of written Greek and European literature.

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Shevtsov, Sergey. "The Iliad Paradox: A Look at Homer's Philosophical Foundations." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 14, no. 1 (2020): 104–41. http://dx.doi.org/10.25205/1995-4328-2020-14-1-104-141.

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The objective of the article is to demonstrate the paradox of the spread of the Homeric epics: having been created by the descendants of the Achaeans in exile three or four centuries after the Trojan war, they became widespread among all of the Greek-speaking world, i.e. mostly among those who destroyed the Achaean civilization forcing the heroes' descendants into exile. The author poses a question: why do the Greek tribes, who have driven the Achaeans out and took their territory, accept a story of the Achaeans' great past as their own? To answer this, the article suggests a hypothesis that on a profound level the Iliad contains a philosophical idea of the world unity. This idea is not terminologically defined in the epics, however, it is presented as a philosophy-of-law concept of responsibility for one's own decision (free will). This answer is based on analysis of the long similes in Iliad and the instances of interrelation of gods and men and the decisions made by the former and the latter out of their free will.

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Lardinois, André. "Eastern Myths for Western Lies." Mnemosyne 71, no. 6 (2018): 895–919. http://dx.doi.org/10.1163/1568525x-12342384.

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AbstractThat the great cultures of the Near East influenced Mycenaean and Archaic Greek culture has been amply demonstrated by the archaeological record. But did this influence extend to Greek literature? And was it recognized by the ancient Greeks themselves? In this paper I answer these two questions in the affirmative after examining two passages from Homer’s Iliad: Hera’s identification of Oceanus and Tethys as the parents of the gods (14.201) and Poseidon’s account of the division of the world through lot (15.189-193).The analysis of these passages is preceded by a methodological section on how literary parallels between these cultures can be evaluated.

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Horn, Fabian. "THE CASUALTIES OF THE LATIN ILIAD." Classical Quarterly 70, no. 2 (2020): 767–73. http://dx.doi.org/10.1017/s0009838820000877.

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The so-called Latin Iliad, the main source for the knowledge of the Greek epic poem in the Latin West during the Middle Ages, is a hexametric poetic summary (epitome) of Homer's Iliad likely dating from the Age of Nero, which reduces the 15,693 lines of the original to a mere 1,070 lines (6.8%).

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Dissertations / Theses on the topic "Greek Ilias (Homerus)"

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Vodoklys, Edward J. "Blame-expression in the epic tradition." New York : Garland, 1992. http://catalog.hathitrust.org/api/volumes/oclc/25130912.html.

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Garcia, Lorenzo Francisco. "Homeric temporalities simultaneity, sequence, and durability in the Iliad /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481658181&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Csajkas, Peter Homer. "Die singulären Iterata der Ilias Bücher 11-15 /." München : Saur, 2002. http://catalog.hathitrust.org/api/volumes/oclc/49730920.html.

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Goussias, Giannoula. "Heroes and heroic life in the Iliad and Akritic folk-song /." Title page, table of contents and abstract only, 1992. http://web4.library.adelaide.edu.au/theses/09ARM/09armg717.pdf.

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Brown, Howard Paul. "The pragmatics of direct address in the Iliad a study in linguistic politeness /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1061412264.

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Fox, Peta Ann. "Heroes at the gates appeal and value in the Homeric epics from the archaic through the classical period." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002168.

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This thesis raises and explores questions concerning the popularity of the Homeric poems in ancient Greece. It asks why the Iliad and Odyssey held such continuing appeal among the Greeks of the Archaic and Classical age. Cultural products such as poetry cannot be separated from the sociopolitical conditions in which and for which they were originally composed and received. Working on the basis that the extent of Homer’s appeal was inspired and sustained by the peculiar and determining historical circumstances, I set out to explore the relation of the social, political and ethical conditions and values of Archaic and Classical Greece to those portrayed in the Homeric poems. The Greeks, at the time during which Homer was composing his poems, had begun to establish a new form of social organisation: the polis. By examining historical, literary and philosophical texts from the Archaic and Classical age, I explore the manner in which Greek society attempted to reorganise and reconstitute itself in a different way, developing original modes of social and political activity which the new needs and goals of their new social reality demanded. I then turn to examine Homer’s treatment of and response to this social context, and explore the various ways in which Homer was able to reinterpret and reinvent the inherited stories of adventure and warfare in order to compose poetry that not only looks back to the highly centralised and bureaucratic society of the Mycenaean world, but also looks forward, insistently so, to the urban reality of the present. I argue that Homer’s conflation of a remembered mythical age with the contemporary conditions and values of Archaic and Classical Greece aroused in his audiences a new perception and understanding of human existence in the altered sociopolitical conditions of the polis and, in so doing, ultimately contributed to the development of new ideas on the manner in which the Greeks could best live together in their new social world.

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Bartley, Christina Marie. "Calasiris the Pseudo-Greek Hero: Odyssean Allusions in Heliodorus' Aethiopica." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41921.

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This thesis seeks to analyze the Homeric allusions in the Aethiopica with an inclusive definition to explore Heliodorus’ authorial motives. To approach this project, I use textual analysis to avoid arguments rooted in assumptions of the historical context of the novel, about which we know almost nothing. I explore how links to Homer’s Odyssey are visible within the structural organization of the text and the content of the text. I also explore how the content of the novel reproduces actions and compatible settings of Odyssean characters, which therefore qualifies Heliodorus’ characters in a metaliterary commentary with Homer’s archaic epic poem. The division of Odyssean actions and traits depicted in Heliodorus’ characters introduce a new addition to the heroic legacy established by Homer and distances the hero from Greek identity. I conclude that Heliodorus’ adherences to epic conventions and departures thereof inform the subtextual commentaries conveyed in the Aethiopica.

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Malamis, Daniel Scott Christos. "The justice of Dikê on the forms and significance of dispute settlement by arbitration in the Iliad." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002162.

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This thesis explores the forms and significance of dispute settlement by arbitration, or ‘δίκη’, in the Iliad. I take as my focus the ‘storm simile’ of Iliad XVI: 384-393, which describes Zeus’ theodical reaction to corruption within the δίκη-court, and the ‘shield trial’ of Iliad XVIII: 498-508, which presents a detailed picture of such a court in action, and compare the forms and conception of arbitration that emerge from these two ecphrastic passages with those found in the narrative body of the poem. Analysing the terminology and procedures associated with dispute settlement in the Iliad, I explore the evidence for the development of an ‘ideology of δίκη’, that valorises arbitrated settlement as a solution to conflict, and that identifies δίκη as a procedure and a civic institution with an objective standard of fairness: the foundation of a civic concept of ‘justice’. I argue that this ideology is fully articulated in the storm simile and the shield trial, as well as Hesiod’s Works and Days, but that it is also detectable in the narrative body of the Iliad. I further argue that the poet of the Iliad employs references to this ideology, through the narrative media of speech and ecphrasis, to prompt and direct his audience’s evaluation of the nature and outcome of the poem’s central conflict: the dispute of Achilles and Agamemnon.

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Baltazar, Christopher. "An analysis of the graphic novel adaptation of the Iliad by Homer for use in the secondary classroom." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1353.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Education<br>English Languagae Arts Education

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Kisieliute, Ieva. "This war will never be forgotten : A study of intertextual relations between Homer's Iliad and Wolfgang Petersen's Troy." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3169.

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In 2004 Troy was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer. The main purpose of this paper is to see the connection between Troy and Homer’s The Iliad – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How The Iliad mutates to be a marketable product. I discuss the changes of the plot that were introduced in Troy and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method. By approaching Troy and The Iliad as two separate cultural products (I did not view Troy as a documentary on The Iliad) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.

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Books on the topic "Greek Ilias (Homerus)"

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Homer. Ilias. Ekdoseis Agra, 2009.

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Homer. Ilias. C.H. Hanser, 2008.

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Homer. Ilias. Ekdoseis Agra, 2009.

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Homer. Ilias. Insel Verlag, 1997.

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Homer. Homeri Ilias. B.G. Teubner, 1998.

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Homer. Homeri Ilias. G. Olms, 1996.

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Nussbaum, Alan J. Two studies in Greek and Homeric linguistics. Vandenhoeck & Ruprecht, 1998.

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Homer. Het schild van Achilles: Ilias 18, 478-617. Leuvense Schrijversaktie, 1988.

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Tanis, Beth L. Homer's The Iliad. Research & Education Association, 1995.

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Landmann, Georg Peter. Das Gedicht vom Kriegs Homers Ilias. C. Winter, 1992.

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Book chapters on the topic "Greek Ilias (Homerus)"

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"Have We Homer’s Iliad?" In Greek Literature, edited by Gregory Nagy. Routledge, 2019. http://dx.doi.org/10.4324/9780203055878-2.

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"14. The Sources of Iliad 7." In Homer and Early Greek Epic. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110671452-014.

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Yamagata, Naoko. "Disaster revisited: Ate and the Litai in Homer’s Iliad." In Personification in the Greek World. Routledge, 2017. http://dx.doi.org/10.4324/9781315247014-2.

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Graziosi, Barbara. "1. Looking for Homer." In Homer: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199589944.003.0002.

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The first extant sources that mention Homer by name date to the sixth century BCE: from them, we can establish that the Greeks considered him an outstanding poet of great antiquity, but that they knew nothing certain about him. ‘Looking for Homer’ explains that there was no agreement about Homer’s birthplace or life and there were doubts about which poems, exactly, he had composed. As views about poetry changed, so did definitions of ‘Homer’. To this day, some classicists see the Iliad and the Odyssey as the work of one exceptional poet, or perhaps two, while others postulate a drawn-out process of re-composition in performance over generations.

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"8. Late Features in the Speeches of the Iliad." In Homer and Early Greek Epic. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110671452-008.

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Sampson, Kristin. "Sounds of subjectivity or resonances of something other." In Antiquities Beyond Humanism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805670.003.0007.

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This chapter explores how the voice carries different meanings in early Greek conceptions of corporeality, contrasting Homer with later writers such as Plato. Sampson argues that both the notion of an autonomous subjectivity and an autophonous voice expressing this self are absent from the Homeric texts. Sampson shows how in Homer voices are said to flow through the speakers like rivers of breath, and reveals a heterophony of voices in the Iliad and the Odyssey: those of mortals and immortals, humans, animals, and even natural forces. The chapter uses such a detour into a distant past to complicate modern notions of subjectivity, and to open up alternative conceptions of corporeality and life within contemporary post-human thinking.

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Graziosi, Barbara. "3. Material clues." In Homer: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199589944.003.0004.

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‘Material clues’ considers the archaeological evidence for when the Iliad and Odyssey were composed, including Heinrich Schliemann’s quest to find Troy on the basis of clues in the texts. The Iliad and the Odyssey refer to material circumstances not found before the later eighth or early seventh century BCE. They describe a distant, mythical past, but are set in a real and recognisable landscape. No interpretation leads to a single original audience, historical context, or specific political agenda, but earliest quotations from, and references to, Homer in other poets’ work prove that by the late sixth century BCE, the poems were well known throughout the Greek world.

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Anhalt, Emily Katz. "Introduction." In Enraged. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300217377.003.0001.

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This book examines three ancient Greek myths—Homer's Iliad, Euripides' Hecuba, and Sophocles' Ajax—to illustrate the costs of rage and identify crucial prerequisites for the nonviolent resolution of conflicts. Performed publicly as epic songs or tragic plays, ancient Greek myths expose tyranny and violence as universal toxins capable of destroying both perpetrator and victim. They emphasize the self-destructiveness of rage and undermine the traditional equation of vengeance with justice, but they also remind their audiences that human beings have better options for dealing with one another. The book analyzes the critique of rage in Iliad, which addresses the misuse of power and questions the utility of vengeance, and Hecuba and Ajax, both of which commend verbal persuasion over physical violence but also underscore the ambivalent potential of persuasive speech.

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"The Homeric Iliad and the Glory of the Unseasonal Hero." In The Ancient Greek Hero in 24 Hours. Harvard University Press, 2013. http://dx.doi.org/10.2307/j.ctvjghtrn.6.

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"The Psychology of the Hero’s Sign in the Homeric Iliad." In The Ancient Greek Hero in 24 Hours. Harvard University Press, 2013. http://dx.doi.org/10.2307/j.ctvjghtrn.13.

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Conference papers on the topic "Greek Ilias (Homerus)"

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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.

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