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Journal articles on the topic 'Helen of Troy in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Crisman, William. "Poe's Ligeia and Helen of Troy." Poe Studies 38, no. 1-2 (2005): 64–75. http://dx.doi.org/10.1111/j.1754-6095.2005.tb00170.x.

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2

Willink, C. W. "The Reunion Duo In Euripides' Helen." Classical Quarterly 39, no. 1 (1989): 45–69. http://dx.doi.org/10.1017/s0009838800040477.

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So begins one of the most engaging, and variously controversial, musical scenes in Euripides. The Messenger's narrative of the Phantom Helen's disappearance has proved to Menelaus that the Helen standing before him is the real Helen, altogether innocent of elopement to Troy, from whom he has been sundered for seventeen laborious years. The ensuing embrace is developed in a duet (Hel. 625–59) which is followed without a break by the so-called ‘Interrogation’ (660–97), the two together constituting the so-called ‘Recognition Duo’.

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3

Pfeijffer, Ilja Leonard. "Shifting Helen: An Interpretation of Sappho, Fragment 16 (Voigt)." Classical Quarterly 50, no. 1 (2000): 1–6. http://dx.doi.org/10.1093/cq/50.1.1.

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Denys Page, discussing this poem in his classic Sappho and Alcaeus, seemed unimpressed by its aesthetic merits. In his note on line 7 he says: ‘The sequence of thought might have been clearer.... It seems then inelegant to begin this parable, the point of which is that Helen found O Krλλιστον in her lover, by stating that she herself surpassed all mortals in this very quality’ (p. 53). His interpretative essay phrases further objections. ‘In a phrase which rings dull in our doubtful ears, she proceeds to illustrate the truth of her preamble by calling Helen of Troy in evidence’ (p. 56). About

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4

Steiner, Deborah. "Eyeless in Argos; a reading of Agamemnon 416–19." Journal of Hellenic Studies 115 (November 1995): 175–82. http://dx.doi.org/10.2307/631659.

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In the first stasimon of Aeschylus' Agamemnon, the estranged Helen and Menelaus share the second strophe. Beginning with an account of Helen's departure from Argos and her arrival in Troy, the chorus shifts its focus, moving back to the city deserted by the Queen, and to Menelaus grieving in the palace. With Helen no longer there, and Menelaus prey to the pathos that her absence inspires, ‘a phasma shall seem to rule the house. And the charm of beautiful kolossoi is hateful to the husband, and in the absence of eyes, gone is all Aphrodite’ (415–19). The difficulties of the stanza are legion.

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5

Filippakopoulou, Maria. "Putting Peripheral Poetries on the Map: Helen of Troy Rewritten by Helias Layios." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 4 (May 1, 2012): 22. http://dx.doi.org/10.12681/syn.17282.

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What are the conditions under which poetry of the periphery produces a poetico-discursive event with the power to affect Eurocentric letters? Using insights from global literature theorists such as Franco Moretti and Roberto Schwarz as well as analysis proper to translation practice I aim to test the argument that ‘minor’ style may become an affect of distinction precisely because it embodies material features of the proletarised literary margins. To this end, I translate and read the ode to Helen (of Troy) by Greek lyrical poet Helias Layios alongside and against poetry retellings of The Ilia

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6

Leigh, Matthew. "Sophocles At Patavium (fr. 137 Radt)." Journal of Hellenic Studies 118 (November 1998): 82–100. http://dx.doi.org/10.2307/632232.

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One of the most interesting of the myths concerning the migration to the West of those Trojan heroes who survived the destruction of their city is that of Antenor and his sons. That Antenor and his family received the embassy of the Greeks, saved them from attack by a group of Trojans and consistently urged peace and the return of Helen is already established in Homer. The consequent decision of the Greeks to spare the Antenorids at the sack of Troy is almost certainly present in the epic cycle. Somewhat later, two further traditions emerge: first the claim that Troy was betrayed by the Anteno

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7

Coelho, Maria Cecília De Miranda Nogueira. "O fausto de Helena no convento de Manoel de Oliveira." Revista do Centro de Estudos Portugueses 30, no. 43 (2010): 25. http://dx.doi.org/10.17851/2359-0076.30.43.25-52.

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<p>O objetivo do artigo é analisar alguns aspectos da caracterização da personagem Hélène, no filme <em>O Convento </em>(1995), de Manoel de Oliveira, comparando-a a personagem Précieuse, no livro <em>As terras do risco </em>(1994), de Agustina Bessa-Luís. Embora o filme tenha sido lançado em 1995, ele não é uma adaptação do livro. Este é um caso interessante na relação entre literatura e cinema. O argumento do romance originou o filme, mas são obras independentes. Em ambos, porém, busco mostrar como as protagonistas foram construídas a partir de referências às pe

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8

Clarke, Michael. "(N.) Austin Helen of Troy and her shameless phantom. Ithaca: Cornell UP, 1994. Pp. xiv + 223. £24.95." Journal of Hellenic Studies 116 (November 1996): 190–91. http://dx.doi.org/10.2307/631975.

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9

Braden, Gordon. "Helen of Troy: From Homer to Hollywood. By Laurie Maguire. Pp. xviii + 258. Oxford: Wiley-Blackwell, 2009. Pb. £17.99." Translation and Literature 19, no. 2 (2010): 261–65. http://dx.doi.org/10.3366/tal.2010.0015.

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10

Woolf, Judith. "Intertextuality, Christianity and Death: Major Themes in the Poetry of Stevie Smith." Humanities 8, no. 4 (2019): 174. http://dx.doi.org/10.3390/h8040174.

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Stevie Smith, one of the most productive of twentieth-century poets, is too often remembered simply as the coiner of the four-word punch line of a single short poem. This paper argues that her claim to be seen as a great writer depends on the major themes which—in addition to “death by water”—she shares with T.S. Eliot: Anglicanism and the modern reworking of classical literature, with a strong, and in her case sometimes autobiographical, emphasis on female protagonists. Where the female figures in Eliot’s The Waste Land are seen as parodic and diminished contemporary versions of their classic

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11

Keen, Antony G. "Helen in English - (L.) Maguire Helen of Troy. From Homer to Hollywood. Pp. xviii + 258, ills. Malden, MA and Oxford: Wiley–Blackwell, 2009. Paper, £17.99, €21.60 (Cased, £50, €60). ISBN: 978-1-4051-2635-9 (978-1-4051-2634-2 hbk)." Classical Review 60, no. 2 (2010): 589–91. http://dx.doi.org/10.1017/s0009840x1000123x.

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12

Dugar, Konstantin, and Alexander Sanzhenakov. "Helen of Troy in Euripides’ Tragedies." Hypothekai 2, no. 2 (2018): 131–42. http://dx.doi.org/10.32880/2587-7127-2018-2-2-131-142.

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13

Hartigan, Karelisa, and Norman Austin. "Helen of Troy and Her Shameless Phantom." Classical World 89, no. 5 (1996): 432. http://dx.doi.org/10.2307/4351845.

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14

Brown, Harold O. J. "From Helen of Troy to Helena Blavatsky." Chesterton Review 26, no. 1 (2000): 49–57. http://dx.doi.org/10.5840/chesterton2000261/29.

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15

Blondell, R. "'Third cheerleader from the left': from Homer's Helen to Helen of Troy." Classical Receptions Journal 1, no. 1 (2009): 4–22. http://dx.doi.org/10.1093/crj/clp003.

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16

RADUCANU, ADRIANA. "The Ghost Tradition: Helen Of Troy In The Elizabethan Era." Gender Studies 13, no. 1 (2014): 22–36. http://dx.doi.org/10.1515/genst-2015-0002.

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Abstract Reputedly the most beautiful woman who has ever lived, Helen of Troy (or Sparta) is less well known for her elusive, ghost-like dimension. Homer wrote that the greatest war of Western classical antiquity started because of Helen's adultery followed by her elopement to Troy. Other ancient writers and historians, among theme Aeschylus, Stesichorus, Hesiod, Pausanias, Aristophanes, Euripides and Gorgias of Leontini, challenged the Homeric version, in various ways and attempted to exonerate Helen either by focusing on her phantom/ ghost/ as the generic object of man's desire and scorn or

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17

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 Sa

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18

Elmer, David F. "Helen Epigrammatopoios." Classical Antiquity 24, no. 1 (2005): 1–39. http://dx.doi.org/10.1525/ca.2005.24.1.1.

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Abstract Ancient commentators identify several passages in the Iliad as ““epigrams.”” This paper explores the consequences of taking the scholia literally and understanding these passages in terms of inscription. Two tristichs spoken by Helen in the teikhoskopia are singled out for special attention. These lines can be construed not only as epigrams in the general sense, but more specifically as captions appended to an image of the Achaeans encamped on the plain of Troy. Since Helen's lines to a certain extent correspond to the function and style of catalogic poetry, reading them specifically

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19

Meltzer, Gary S. ""Where Is the Glory of Troy?" "Kleos" in Euripides' "Helen"." Classical Antiquity 13, no. 2 (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 f

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20

Bastin-Hammou, Malika. "Laurie Maguire, Helen of Troy. From Homer to Hollywood." Anabases, no. 17 (March 1, 2013): 289–92. http://dx.doi.org/10.4000/anabases.4278.

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21

Austin, Norman. "Helen of Troy: Beauty, Myth, Devastation by Ruby Blondell." American Journal of Philology 135, no. 2 (2014): 285–87. http://dx.doi.org/10.1353/ajp.2014.0020.

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22

Solez, Kevin. "Traveling with Helen: The Itineraries of Paris and Menelaus as Narrative Doublets." Yearbook of Ancient Greek Epic Online 3, no. 1 (2019): 67–87. http://dx.doi.org/10.1163/24688487-00301003.

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Abstract The journey of Paris from Sparta to Troy and the journey of Menelaus from Troy to Sparta are narrative doublets that feature in the Epic Cycle. Both men follow a typical and historical pattern of mobility between Greece and the Levant before reaching their destination. These similarities constitute a proleptic doublet, where Paris’s journey is a less elaborate iteration of a story pattern that appears again in the nostos of Menelaus. In our known epics, the doublets appear near the beginning of the Cypria and at the very end of the Nostoi.

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23

Sussman, Charlotte. "The Art of Oblivion: Charlotte Smith and Helen of Troy." Studies in Eighteenth Century Culture 27, no. 1 (1998): 131–46. http://dx.doi.org/10.1353/sec.2010.0128.

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24

Pirruccello, Ann. "Simone Weil, Helen of Troy and Weapons of Mass Destruction." International Journal of the Humanities: Annual Review 2, no. 2 (2006): 0. http://dx.doi.org/10.18848/1447-9508/cgp/v02i02/41295.

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25

Hartley, John. "Open Literacy: Helen of Troy, Richard Hoggart, Phonic Wars, Greta Thunberg." Cultural Science Journal 11, no. 1 (2019): 89–103. http://dx.doi.org/10.5334/csci.126.

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26

Felizardo, Patrícia. "[Recensão a] RUBY BLONDELL (2015), Helen of Troy: Beauty, Myth, Devastation." Cadmo Revista de História Antiga, no. 25 (2016): 146–48. http://dx.doi.org/10.14195/0871-9527_25_19.

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27

Varotto, E., and F. M. Galassi. "A likely representation of goiter in Antonio Canova’s Helen of Troy." Journal of Endocrinological Investigation 42, no. 11 (2019): 1389–90. http://dx.doi.org/10.1007/s40618-019-01080-z.

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28

Zamir, Sara. "A PORTRAITURE OF HELEN, QUEEN OF TROY IN BOITO'S Mefistofele: Coincidentia Oppositorum." Revista Europeia de Estudos Artisticos 1, no. 2 (2010): 1–15. http://dx.doi.org/10.37334/eras.v1i2.16.

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In this study we attempt to understand some of the aesthetical features implemented by Arrigo Boito (1842-1918) for the dramaturgic formation of the final act of the opera Mefistofele. Doing that, we will focus on the bifocal character of Helen, both as flash-and-blood woman and as the divine Queen of Troy. Disregarding the controversial criticism of the value of the music, the analysis below reveals deep concern for the dramatic coherence practiced by musical associations and cultural signals. It shows that the composer has sincerely made an effort to characterize both facets of Helen-i.e. fe

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29

MINCHIN, ELIZABETH. "Commemoration and Pilgrimage in the Ancient World: Troy and the Stratigraphy of Cultural Memory." Greece and Rome 59, no. 1 (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 destina

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30

Winkler, Martin M. "Helenê kinêmatographikê; or, Is this the face that launched a thousand films?" Nuntius Antiquus 12, no. 1 (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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31

Coelho, Maria Cecília de Miranda Nogueira. "The private life of Helen of Troy in roaring 20´s Hollywood." Classica - Revista Brasileira de Estudos Clássicos 26, no. 2 (2013): 191–223. http://dx.doi.org/10.14195/2176-6436_26-2_11.

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32

Ulin, Julieann Veronica. ""Can a Wrong Once Done Ever Be Undone?": Ireland's Helen of Troy." WSQ: Women's Studies Quarterly 39, no. 3-4 (2011): 173–92. http://dx.doi.org/10.1353/wsq.2011.0037.

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33

Karavas, Orestis. "Immobility and Motion in Colluthus’The Abduction of Helen." Trends in Classics 12, no. 1 (2020): 126–33. http://dx.doi.org/10.1515/tc-2020-0008.

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AbstractThe poets of that time seek to find a way to engrave their names on the wall of immortality through their works. One way of achieving this was by “filling in the gaps” Homer left in his poems, or continuing through them the stories he started. Colluthus, a Greek poet of Egypt, who lived under the reign of Anastasius (5th-6th centuries AD), is known as the author of the short poem The Abduction of Helen. This “prequel” to the Iliad comes after a very long tradition of legends concerning the beginning of the war of Troy. In the present paper I will study how Colluthus uses his characters

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34

Çalişkan, Sveda, Bilge Karasu, and Aron Aji. "Death in Troy." World Literature Today 77, no. 3/4 (2003): 155. http://dx.doi.org/10.2307/40158336.

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35

Heavey, Katherine. "A new way to please you: Helen of Troy in early modern comedy." Renaissance Studies 28, no. 3 (2012): 426–42. http://dx.doi.org/10.1111/j.1477-4658.2012.00827.x.

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36

Coats, Karen. "Beauty’s Daughter: The Story of Hermione and Helen of Troy by Carolyn Meyer." Bulletin of the Center for Children's Books 67, no. 5 (2014): 275. http://dx.doi.org/10.1353/bcc.2014.0064.

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37

Heavey, Katherine. "“Thus Beholde the Fall of Sinne”: Punishing Helen of Troy in Elizabethan Verse." Literature Compass 9, no. 7 (2012): 464–75. http://dx.doi.org/10.1111/j.1741-4113.2012.00899.x.

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38

Austin, Geer. "Troy Donahue Hair." Harrington Gay Men's Literary Quarterly 8, no. 3 (2007): 11–17. http://dx.doi.org/10.1300/j510v08n03_03.

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39

Hainsworth, J. B. "HOMER AND TROY." Classical Review 50, no. 1 (2000): 4–5. http://dx.doi.org/10.1093/cr/50.1.4.

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40

Momigliano, Nicoletta. "Who Found Troy?" Classical Review 51, no. 1 (2001): 141–43. http://dx.doi.org/10.1093/cr/51.1.141.

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41

Graver, Margaret. "Dog-Helen and Homeric Insult." Classical Antiquity 14, no. 1 (1995): 41–61. http://dx.doi.org/10.2307/25000142.

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Helen's self-disparagement is an anomaly in epic diction, and this is especially true of those instances where she refers to herself as "dog" and "dog-face." This essay attempts to show that Helen's dog-language, in that it remains in conflict with other features of her characterization, has some generic significance for epic, helping to establish the superiority of epic performance over competing performance types which treated her differently. The metaphoric use of χύων and its derivatives has not been well understood: the scholiast's gloss "shameless" is no more than a functional equivalent

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42

PHILLIPS, CARL. "THE PLAINS OF TROY." Yale Review 96, no. 2 (2008): 86. http://dx.doi.org/10.1111/j.1467-9736.2008.00397.x.

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43

Cuming, Geoffrey. "Liturgical typography." Information Design Journal 6, no. 1 (1990): 89–92. http://dx.doi.org/10.1075/idj.6.1.06cum.

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She is older than the rocks among which she sits ; like the vampire, she has been dead many times, and learned the secrets of the grave ; and has been a diver in deep seas, and keeps their fallen day about her ; and trafficked for strange webs with Eastern merchants : and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary ; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands.

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44

Thompson, Roger. "Attitudes Towards Homosexuality in the Seventeenth-Century New England Colonies." Journal of American Studies 23, no. 1 (1989): 27–40. http://dx.doi.org/10.1017/s0021875800019162.

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The first play I attended at my all-boys secondary school was Marlowe's Dr Faustus. The lower boys crammed in the gallery were not wholly engaged by grandiloquent Elizabethan cadences, nor by the laboriously unfolding plot. What stopped the whispering and fidgeting and then brought the house down was the scene in which Faustus, as reward for selling his soul, is allowed to kiss the most beautiful woman in the world, Helen of Troy. In this production the hell-bent Doctor had to make do with the prettiest boy in the school. Wild whoops, mating calls, indecent suggestions for further action raine

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45

Rutherford, Richard. "II - The Iliad." New Surveys in the Classics 41 (2011): 44–75. http://dx.doi.org/10.1017/s0017383512000393.

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The Iliad is not an Achilleid, although Achilles is the most important character in the epic. One of the most striking features of the poem is the way in which it embraces the action of the whole Trojan War by retrospective and prospective references, rather than by narrating the events in full. In this, as is evident from ancient testimony, the Iliad was markedly different from the ‘cyclic’ epics (see esp. Hor. Ars P. 136–7). The human characters refer to the abduction of Helen, the initial embassy to the Trojans, the mustering at Aulis, the earlier campaigns and clashes; the prophecies and c

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46

Copeland, Donna. "Doolittle's Helen." Explicator 46, no. 4 (1988): 33–35. http://dx.doi.org/10.1080/00144940.1988.9933848.

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47

Babaee, Ruzbeh, and Wan Roselezam Wan Yahya. "Yeats’ “Leda and the Swan”: A Myth of Violence." International Letters of Social and Humanistic Sciences 27 (May 2014): 170–76. http://dx.doi.org/10.18052/www.scipress.com/ilshs.27.170.

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W. B. Yeats‟ "Leda and the Swan", first published in the Dial in 1924, is an example of Irish poetry drawing on Classical Greek and Latin texts to create a commentary on the political atmosphere in Ireland. The poem is based on the story of Leda, who was raped by Zeus in the form of a swan and later gave birth to Helen of Troy. In Yeats‟s poem, Leda represents Ireland, forcefully violated by a foreign power — Great Britain. The present study reviews mythological as well as political aspects of Yeats‟ “Leda and the Swan” and investigates the act of violence in the poem.

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48

McRoberts, Stephen S. "CAESAR'S ‘VIRGILIAN’ KATABASIS AT TROY IN LUCAN BELLVM CIVILE 9.950–99." Ramus 47, no. 1 (2018): 58–77. http://dx.doi.org/10.1017/rmu.2018.7.

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Caesar's visit to Troy has always been something of an enigma. Historically, the episode is unattested. Caesar wanders through a congeries of sites at Troy ranging from Ajax's grave on the Rhoetium promontory at its beginning to Priam's Herceian altar at the end. Numerous interpretations have been offered. Bruère has argued for Aeneas' tour through the future site of Rome in Aeneid 8 as a backdrop. Ahl has noted the connection between the ruins of Italy described in Bellum Ciuile (B.C.) 7 and the ruins of Troy in B.C. 9. Rome/Italy and Troy merge in essence as vanishing fabulae, which the poet

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49

Godwin, Laura Grace. "“There is Nothin’ like a Dame”: Christopher Marlowe’s Helen of Troy at the Royal Shakespeare Company." Shakespeare Bulletin 27, no. 1 (2009): 69–79. http://dx.doi.org/10.1353/shb.0.0058.

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50

Maurice, Lisa. "Laurie Maguire, Helen of Troy: From Homer to Hollywood (Malden, MA: Wiley-Blackwell, 2010), 280 pp." International Journal of the Classical Tradition 18, no. 3 (2011): 464–68. http://dx.doi.org/10.1007/s12138-011-0270-3.

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