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Relevant bibliographies by topics / Helen of Troy (Greek mythology)

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Academic literature on the topic 'Helen of Troy (Greek mythology)'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Helen of Troy (Greek mythology)"

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Mesihović, Salmedin. "Troy between mythology and documents." Godišnjak Centra za balkanološka ispitivanja, no. 49 (January 6, 2022): 87–96. http://dx.doi.org/10.5644/godisnjak.cbi.anubih-49.138.

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Greek mythology mentions Motylos, king in Asia Minor, who received Helen and Paris after they fled the mythical Sparta. Who was Motylos and whether his appearance in ancient Hellenic mythography is in fact perhaps a reminiscence and some “rough” memory of a real ruler of Asia Minor in the XIII century BC. As one of the first candidates for possible reminiscence is Muwatal II. (Muwatalli; Muwatallish) Hittite ruler in the period (according to a short chronology) from 1295 to 1272. BC. The main reason is the existence of a document, found in the Hittite archives in Hatusha, which is called the Alaksandu Treaty (CTH 76). It is a diplomatic treaty (with an approximate date cc 1280 BC) between Muwatal II. and Alaksandu, king of Wilusa. In historiography and archeology it is now unquestionable that Wilusa refers to that city which in ancient Hellenic mythology is called Ilion, while Aleksandu is associated with Paris (Πάρις), whose name by birth was Alexander (Ἀλέξανδρος). It is interesting that in Greek mythology, there is also information that the Paris and Helena fleet was cruising the eastern Mediterranean and that it was carrying out attacks along the coast of the Levant. Perhaps this mythology is actually a memory of the time when the Trojans were part of a military contingent led by Muwatal in the war with the Egyptian pharaoh Ramesses II, which broke out after the conclusion of the Treaty of Aleksandu.

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Nice, David. "A happy mythologizer: Strauss's creative role in his Greek operas." Tempo, no. 210 (October 1999): 10–16. http://dx.doi.org/10.1017/s0040298200007130.

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According to David Fielding's eagerly-awaited, tender-hearted Garsington production of Die Liebe der Danae, Semele, Europa, Alkmene and Leda are ballroom queens. In the beginning, three of their four amours with that master of disguise Zeus/Jupiter bore fruit significant for the ongoing sagas of Greek and Roman mythology: Herakles from the three-night stint of Alkmene and the man she believed to be her husband, Helen of Troy and Clytemnestra out of a single egg laid by swan-seduced Leda, and Dionysus out of the ashes of over-reaching Semele, shrivelled by the sight of her god in all his majesty. The biological imperative was discarded by Hugo von Hofmannsthal – perhaps oddly for one so interested in the child-bearing outcome of his own Frau ohne Schatten myth – as he proposed a new operatic legend for Strauss in 1920. His queens (first three, later four) would be ‘bird-like, vain, forgetful, gossiping about everything’, flitting around in a Zerbinetta-like intermezzo to the main business of Jupiter's quest for Danae's love; the featherlight delicacy of the proposal was beautifully mirrored by Fielding's inspired idea. Taking up his long-deceased poet's suggestion just under two decades later, Strauss, as he neared the end of his operatic career, added a further twist. His god had grown old like himself; and on Jupiter's ever more emotional journey towards the renunciation of the woman Strauss decided would be his last love, Danae, the four close-harmony queens would move from Ariadne-style banter to tender acknowledgement of the ageing process, their apogee a canon of bitter-sweet sentimentality.

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Jaszczyński, Maciej. "Indo-European Roots of the Helen of Troy." Studia Ceranea 8 (December 30, 2018): 11–22. http://dx.doi.org/10.18778/2084-140x.08.01.

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As a part of the series on female deities and demons in the Indo-European culture, the article begins by establishing Helen’s divine character in the Greek tradition and religion. The first area where the Indo-European character of Helen is displayed concerns the etymology of her name, which has been the subject of discussion and controversy throughout several decades. The most prominent theories are presented, including the concept of Pokorny and West to explain her name as ‘Lady of Light’ from the Proto-Indo-European root *swel- or *swelh1-, the idea of Skutsch to connect Helen with Vedic Saṛanyū, the etymology by Clader relying on the local Greek ritual practices and finally the new etymology provided by Pinault explaining the name as ‘having a year like a thread’ from Proto-Indo-European *suh1-l̥-h1eno. The second part of the article deals with the cultural, literary and religious attributes of Helen which connect her with the Indo-European world, especially with the Vedic tradition. The most interesting aspects include the issue of Helen’s parenthood and her birth, her relationship with her brothers – the Dioskouroi – the prototypical Indo-European Divine Twins, as well as similarities with Vedic goddesses Uṣās – Dawn and Sūryā́ – the Sun Princess. The final part of the article establishes Helen as the Greek representation of the Indo-European myth of an abducted wife. Relying heavily on the analysis of Jamison, it draws on the similarities between the passages in the book III of the Mahābhārata and the book III of the Iliad, which from the comparative perspective explains well the inclusion of this scene in the Homeric epic and Helen’s role in it as well as sheds more light on the Indo-European practices regarding marriage. Lastly, the article mentions a connection between Helen and Vedic Saṛanyū by the story of eidolon – a phantom, which both characters created at certains points in some literary traditions.

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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.

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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.

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Mikhelson, Olga K. "Between Duty and Bliss: Ancient Greek Moral Imperatives, Mythology, and Modern American Cinema." Study of Religion, no. 2 (2019): 131–37. http://dx.doi.org/10.22250/2072-8662.2019.2.131-137.

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The article treats the reception of ancient Greek mythology and history in modern American cinema. Modern directors do not just illustrate ancient narratives, but update them, enriching them with additional readings and subtexts. In the films considered, eternal questions are posed: life and death, duty and moral choice, the destiny of man and desire to become equal to the gods, but they are reinterpreted. It demonstrates that the ancient Greek myth continues its life in the modern cinema, which serves as a kind of contemporary mythology. In the V. Petersen’s film “Troy” man finds true immortality, embodied in heroism and glory. The director’s version of the Iliad still contains the spirit of the Homeric epic, but in doing so conveys later themes through it as well. Homer's tales of the heroes of Troy are filled with new breath, not least due to the anthropocentrism of the film. In O. Stone’s film “Alexander” not only the mythologization of ancient history can be seen, but it can also be comprehended through an even more ancient mythology. The mythological structure of the film is further emphasized by the cyclicity of the narrative, but the film is topical at the same time.

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Vos, Gary. "David Stuttard. Greek mythology: a traveller’s guide from Mount Olympus to Troy." Journal of Greek Archaeology 1 (January 1, 2016): 494. http://dx.doi.org/10.32028/jga.v1i.683.

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Is there anything new to be said about classical mythology? Recent decades have seen a flurry of encyclopaedias, overviews of and introductions to the subject, and monographs on specific figures or themes. Any author wishing to enter the fray must, I imagine, suppress some queasiness at such competition. Not so David Stuttard (hereafter ‘S.’). S.’s book is of a very different kind and is perhaps best described as a Pausanias for our times. S. is a gifted and prolific populariser of Classics, renowned for (co)authoring and editing over a dozen books on various aspects of Classical civilization and producing a further dozen translations, half a dozen adaptations, and many a staging of Greek dramas. Greek Mythology is a perfect addition to his oeuvre. The dust jacket promises that this book is ‘[t]he perfect companion to the Greek myths and the landscapes and ideas that shaped them.’ As the introduction (12–13) and dust jacket freely admit, it is aimed at real and armchair travellers alike (the quality of the cover suggests the second category is the majority of the envisioned readership). While not written for the specialist, the book may be of interest to (armchair) scholars as well.

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Meltzer, Gary S. ""Where Is the Glory of Troy?" "Kleos" in Euripides' "Helen"." Classical Antiquity 13, no. 2 (October 1, 1994): 234–55. http://dx.doi.org/10.2307/25011015.

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Near the end of Euripides' "Helen", Helen reportedly exhorts the Greek troops to rescue her Egyptian foes: "Where is the glory of Troy (to Troikon kleos)? Show it to these barbarians" (1603-1604). Helen's rallying cry serves as a point of departure for investigating the nature and status of kleos in a play which invites reframing her question: Where, indeed, is the glory of Troy if the report of Helen's abduction by Paris is untrue? The drama deconstructs the notion of a unitary, transcendent meaning of "kleos" by demonstrating the slippage between its two root-meanings in Homer as "immortal fame," legitimated by the gods, and as mere "report" or "rumor." A diminution of the status of the proper name runs in parallel with this slippage between the two senses of "kleos": the heroic name loses its privileged status as a stable, transparent sign of character and becomes instead a signifier vulnerable to dissemination (cf. Jacques Derrida, La dissémination [Paris, 1972]). As a vehicle of deception, Helen's phantom-twin becomes a figure for the polysemy of the signifier, both visual and linguistic. The phantom's substitution for Helen also highlights her symbolic role as a marker of men's (and gods') status in a competitive system of exchange. If the play presents Helen as a continual object of men's attempts to capture her in song as well as in war, it presents heroic kleos as an equally insecure possession, insofar as it is always contingent on the "report" of others. Indeed, Helen becomes a metaphor for the duplicity inherent in the mimetic process by which fame is transmitted. That "kleos" turns out to have been a dangerously deceptive signifier is a lesson of more than literary interest for the Athenians watching Euripides' "Helen" (412)-the forces of the Sicilian expedition had been annihilated only a year earlier.

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Winkler, Martin M. "Helenê kinêmatographikê; or, Is this the face that launched a thousand films?" Nuntius Antiquus 12, no. 1 (June 24, 2016): 215–57. http://dx.doi.org/10.17851/1983-3636.12.1.215-257.

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In ancient Greece and Rome, Helen of Troy was the most beautiful woman among mortals. Her beauty, an almost divine quality, made Helen immortal. Its praise was an integral part of Greek and Roman letters. The cinema has eagerly followed in the footsteps of classical and later authors and artists by retelling her story. Beautiful actresses have variously portrayed her as unhappy wife of Menelaus, romantic lover of Paris, and ruinous cause of the Trojan War. This paper pays homage to Helen’s beauty by presenting, in word and image, her most notable screen incarnations from 1911 to 2013.

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MINCHIN, ELIZABETH. "Commemoration and Pilgrimage in the Ancient World: Troy and the Stratigraphy of Cultural Memory." Greece and Rome 59, no. 1 (April 2012): 76–89. http://dx.doi.org/10.1017/s0017383511000258.

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This article takes up the subject of shared memory and its interaction with landscape, with specific reference to Troy, to Homer's Iliad, and to the tradition of ‘pilgrimage’ to Troy and its environs that evolved in the ancient world in response to the Trojan War story. Over the course of centuries this particular location on the Hellespont, a Bronze Age site, exercised a particular fascination, thanks to memories – no doubt gravely distorted – of a great siege by combined Greek forces eager to avenge, as legend tells it, the abduction of Helen. A few centuries later, the site became a destination for ‘pilgrims’ who were eager to see for themselves the landscape of Troy and the Troad and to experience for themselves, physically and emotionally, certain actions that were attributed to the heroes of the so-called Trojan War.

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Bangasin, Alneza M. "The Fridging of Selected Female Characters in Greek Mythology." Journal of Women Empowerment and Studies, no. 26 (October 10, 2022): 8–18. http://dx.doi.org/10.55529/jwes.26.8.18.

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This study deals with the selected female characters from Greek Mythology. The selected female characters are analysed according to the trope Women in Refrigerator. Descriptive qualitative analysis has been employed in this study. The following female characters analysed in this study are Medea, Medusa, Arethusa, Andromeda, Danaë, Daphne, Eurydice, Antigone, Helen, and Cassandra. The aforementioned characters possess the trait of a fridged woman trope. These women have been, in one way, or another, killed, abused, and or depowered to serve the character of a male protagonist thereby reducing their characters as a plot device leaving no room for character development. This study is beneficial to enthusiasts of literature specifically the following: students, educators, and future researchers. This research will help readers to view female characters under the spotlight of the trope, Women in Refrigerator. The researcher suggests that authors be made aware of the aforementioned trope so that they do not compose their characters in this manner.

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Dissertations / Theses on the topic "Helen of Troy (Greek mythology)"

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Pierce, Karen. "Images of Argive Helen from birth to death." Thesis, University of Wales Trinity Saint David, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683213.

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Ceccarelli, Serena. "Launching a thousand ships : the beauty of Helen of Troy in Isocrates." University of Western Australia. School of Humanities, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0087.

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[Truncated abstract] This thesis focuses on the significance of the beauty of Helen of Troy in the Encomium of Helen written by the fourth-century philosopher Isocrates. Previous traditions, and especially epic poetry and tragedy, had assessed Helen’s beauty and either blamed or excused her for causing the Trojan War. Isocrates moved beyond this dichotomy to create a new focus on her beauty as the ultimate source of all that made Greek culture distinctive. Modern scholarship, however, has been generally unsympathetic we may almost say blind to this projected beauty. The meaning of beauty in Isocrates’ work has been overlooked by scholars in favor of its rhetorical structure. The work was criticized for its disjointed arrangement and lack of seriousness. The Helen has been interpreted as a reaction to contemporary rhetorical issues or as merely an educational manifesto. This thesis aims to identify and clarify the ideology underlying Isocrates’ construction of Helen’s beauty in his encomium. … The Helen of Isocrates is also compared with the contemporary Platonic work Phaedrus, which explores beauty as a means of arriving at pure knowledge. In this case, comparisons are drawn thematically and reveal that while the two works share similar topics and aims regarding the notions of beauty, Isocrate’s aesthetic idea is much more practically grounded and intended to be of benefit to the entire society when compared to the more idealistic and individual Platonic notion. Finally, the reasons for Isocrates’ choice of beauty as a major theme for the Helen are explored through a comparison of Helen’s beauty to that of Hellas an equation which Isocrates deems important for the fourth-century society.

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Turner, Catherine. "The dream image and the dread image : dramatists' responses to Helen of Troy." Thesis, University of Exeter, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296289.

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Books on the topic "Helen of Troy (Greek mythology)"

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George, Margaret. Helen of Troy. New York: Penguin Group USA, Inc., 2008.

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Poeschel, Ann. Helen of Troy. Cavendish Square Publishing LLC, 2019.

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Poeschel, Ann. Helen of Troy. Cavendish Square Publishing LLC, 2019.

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Poeschel, Ann. Helen of Troy. Cavendish Square Publishing LLC, 2019.

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Helen of Troy. Penguin, 2007.

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Helen of Troy. Ottawa: eBooksLib, 2005.

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Helen of Troy. Independently Published, 2022.

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Lang, Andrew. Helen of Troy. Independently Published, 2021.

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Lang, Andrew. Helen of Troy. Independently Published, 2021.

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Lang, Andrew. Helen of Troy. Independently Published, 2021.

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Book chapters on the topic "Helen of Troy (Greek mythology)"

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Hertel, Dieter. "The Myth of History: The Case of Troy." In A Companion to Greek Mythology, 425–41. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396942.ch22.

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Janko, Richard. "Helen of Troy—or of Lacedaemon?" In Text and Intertext in Greek Epic and Drama, 118–31. Routledge, 2020. http://dx.doi.org/10.4324/9780429024573-12.

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"Glossary of Greek Terms." In Helen of Troy and Her Shameless Phantom, 205–6. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501720703-011.

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Blondell, Ruby. "‘Third Cheerleader from the Left’: From Homer’s Helen to Helen of Troy." In Ancient Greek Women in Film, 51–72. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199678921.003.0003.

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Davis, Paul K. "Troy." In Besieged, 3–5. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195219302.003.0002.

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Abstract This siege is one of the most difficult to write about, for so much of the action lies deep in Greek mythology. Indeed, the entire war between the Greeks and Trojans is possibly nothing more than a literary exercise rather than an historical event. Still, the excavations begun in the late nineteenth century by Heinrich Schliemann give some basis for a real siege at a town on Asia Minor’s Aegean coast sometime in the fourteenth to twelfth century B.C. The main source for the action at Troy comes from Homer’s epic work The Iliad, so-called because the Greek word for the object of their attack was not Troy, but Ilion. It is possible the Trojans were inhabitants of a region rather than merely a city. As Homer is believed to have recorded oral tradition handed down over some four centuries, exact details of the actions of the siege can only be taken on faith. Other works, such as the Kypria and the Aeneid, offer details not included in Homer’s account, making the facts even more elusive.

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Edmunds, Lowell. "Introduction." In Stealing Helen. Princeton University Press, 2015. http://dx.doi.org/10.23943/princeton/9780691165127.003.0001.

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This introductory chapter undertakes a comparison between a folktale and a Greek myth. It attempts to define the folktale through two avenues concerning genre and terminology as well as mode of communication. Here, the chapter relates the folktale of “The Abduction of the Beautiful Wife” to the Greek epics such as the Iliad, eventually focusing the discussion on the story of Helen of Troy. To aid in the discussion, the chapter introduces the comparative circle, which begins from the perception of a similarity between the target text and some other text, and proceeds from this second text to a third and so forth, until the scholar constructing the circle decides to return to the explicandum.

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Vivante, Bella. "Gazing at Helen: Helen as Polysemous Icon in Robert Wise’s Helen of Troy and Michael Cacoyannis’ The Trojan Women." In Ancient Greek Women in Film, 19–50. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199678921.003.0002.

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Hard, Robin. "The royal families of Troy and Sparta, and the origin of the Trojan War." In The Routledge Handbook of Greek Mythology, 439–59. Routledge, 2019. http://dx.doi.org/10.4324/9781315624136-20.

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Dasgupta, Rushati. "Portrayal of Helen of Troy in the Select Poems of Sappho and Wislawa Szymborska." In Advances in Media, Entertainment, and the Arts, 64–71. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-6572-1.ch007.

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The Greek society was highly patriarchal; it was a masculine world where war was glorified. Helen of Troy is one of the most imperative characters in both ancient and modern literature. For centuries she has been portrayed as the woman whose beauty sparked the Trojan War. But there are writers whose characterization of Helen and description of her beauty differ from the stereotypical mainstream narrative. This chapter investigates how the mythical character of Helen has been explored by such female writers, through poems of Sappho and Wislawa Szymborska. In Sappho's “Fragment 16,” the readers observe how she refashions the character of Helen and projects her as a “hero” because she had followed her heart. She only mentions her beauty and does not describe her in an elevated way. But Szymborska is more effective in describing the consequences of her unsurpassed beauty that becomes her weapon. In the poem “A Moment in Troy,” Szymborska criticizes the internalization of patriarchal values. She manipulates patriarchy by using a patriarchal narrative to empower women.

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Carey, Chris. "Observers of speeches and hearers of action: The Athenian orators." In Literature in the Greek World, 174–98. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780192893031.003.0006.

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Abstract Oratory was always part of Greek public or semi-public expression. It already plays a major role in the fictive society of Homeric epic. The education of the Homeric hero (exemplified in the case of Achilles) was designed to make him ‘a speaker of words and a doer of deeds’ (Iliad 9. 443). When Odysseus and Menelaos visited Troy to argue for the return of Helen, they found an audience which could appreciate their oratory (Iliad 3. 204–24). The three envoys sent to Achilles in the ninth book of the Iliad each deliver a speech to him in turn, to receive a speech in reply.

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