To see the other types of publications on this topic, follow the link: Homer's Odyssey.
Dissertations / Theses on the topic 'Homer's Odyssey'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Homer's Odyssey.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Clark, D. "Studies in Odyssey 13-24." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384417.
Full text
2
Makrinos, Antonios. "Eustathius' commentary on Homer's "Odyssey" (Ch. 1379-1397)." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1445266/.
Full textAbstract:
Eustathius' Commentary on Homer's Odyssey is preserved in two manuscripts (Parisinus Graecus 2702 and Marcianus Graecus 460). The latest edition of the work by G Stallbaum in two volumes (1:1825, 2 1826) is a printed reproduction of the first edition by N Maioranus in 1550 which was the first attempt of comparative study of the two manuscripts. Since then, there has been no complete edition based on the scientific comparison of both manuscripts and although Stallbaum's edition corrects some minor editorial mistakes, it does not offer a text based on a full study of both manuscripts furthermore, it preserves a substantial number of mistakes and it does not provide the reader with neither an apparatus criticus or testimonia. Additionally, there are neither comments nor any translating remarks which could help the understanding of the text The aim of my research is to accomplish a comparative study of both manuscripts of Eustathius' Commentary on Homer's Odyssey and to provide a full edition of a sample of text (chapters 1379-1397). Hence, my PhD thesis is divided in three parts: the introduction, the text and the fontes and testimonia. The introduction is divided in five chapters. 1 The first chapter provides background information on Eustathius' life and writings. 2. In the second chapter I discuss the chronological order of Eustathius' Commentaries on the Iliad and the Odyssey. 3. The third chapter is a complete comparative study of the codices there is an analytical description of both codices (treating matters like the use of ink, the marginal notes, the information acquired in the first and last pages) and a comparative examination of their physical features the combination of the external evidence together with a short description of the history of the manuscripts and an evaluation of their quality provide the reader with some useful conclusions on their relationship (including a stemma of the codices and the suggestion for an Archetype theory). 4. The fourth chapter treats the subject of Eustathius as a commentator and it deals with problems like his interpretative method and terminology and his allegorical interpretative strategy 5 In the fifth chapter, there is the identification of Eustathius' sources. 6. And finally in the sixth chapter, there is a short discussion of Eustathius' style and language. The introduction is followed by the edition of the text of Eustathius' Commentary on the Odyssey (1379-1397), with an apparatus criticus based on the comparative study of the manuscripts, the editio princeps and Stallbaum's edition. The edition of the text also provides the reader with testimonia together with some comments and translating remarks on the most problematic passages.
3
Lebowitz, Willy. "Complex unity "self" and deliberation in Homer's Odyssey and Iliad /." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1576.
Full text
4
Holt, Timothy James. "Setting as a poetic device to enhance character in the apologos of Homer's Odyssey." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1303.
Full text
5
Richards, Francesca Maria. "'Dangerous creatures' : selected children' versions of Homer's Odyssey in English, 1699-2014." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11522/.
Full textAbstract:
This thesis considers how the Odyssey was adapted for children, as a specific readership, in English literature 1699-2014. It thus traces both the emergence of children’s literature as a publishing category and the transformation of the Odyssey into a tale of adventure – a perception of the Odyssey which is still widely accepted today (and not only among children) but which is not, for example, how Aristotle understood the poem. I explore case studies from three different points in the development of children’s literature, and in the development of the Odyssey as a tale of adventure, and connect them to broader cultural attitudes to children and to classical literature. The first, the successful translation of François Salignac de la Mothe-Fénelon’s Les aventures de Télémaque (The Adventures of Telemachus, 1699) illustrates the clash of the Odyssey with contemporary discourse on literature and education. I then turn to Charles Lamb’s The Adventures of Ulysses (1808) – a text that was at the heart of Romantic cultural upheavals and the commercial development of children’s literature, and which responded directly to Fénelon. Lamb’s work transformed the way the Homeric poem would engage with children by focusing on the fantastic adventures of Odysseus, rather than Telemachus, as Fénelon had done. The nineteenth-century shift in the critical reaction to Lamb’s work, and to the notion of reading adventure for recreational purposes, would eventually see The Adventures of Ulysses become a foundational text for future generations of Odysseys for children, and indeed in the reception of the Odyssey more generally (Lamb’s version was foundational for Joyce, for example). The final part of the thesis explores how Lamb’s influence is still operational in a new generation of texts that use subaltern voices in an apparently antagonistic approach to the poem. The thesis argues that the children’s texts considered, which are often treated as marginal, both as classical receptions and as children’s literature, need to be brought to the core of classical studies.
6
Christodoulos, Zekas. "The language of the gods : oblique communication and divine persuasion in Homer's 'Odyssey' /." St Andrews, 2009. http://hdl.handle.net/10023/862.
Full text
7
Wilson, Jeffrey Dirk. "Homer's paradigm of being a philosophical reading of the Iliad and the Odyssey /." Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com.
Full text
8
Zekas, Christodoulos. "The language of the gods : oblique communication and divine persuasion in Homer's Odyssey." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/862.
Full textAbstract:
Often praised for its sophistication in the narrator- and character-text, the Odyssey is regarded as the ultimate epic of a warrior’s much-troubled nostos. As a corollary of both its theme and the polytropia of the main hero, the poem explores extensively the motifs of secrecy and disguise. Apart from the lying tales of Odysseus, one important, albeit less obvious, example of the tendency to secrecy and disguise is the exchanges between the gods, which constitute a distinct group of speeches that have significant implications for the action of the poem. The aim of this dissertation is to study the divine dialogues of the Odyssey from the angle of communication and persuasion. Employing findings from narratology, discourse analysis, and oral poetics, and through close readings of the Homeric text, I argue that the overwhelming majority of these related passages have certain characteristics, whose common denominator is obliqueness. Apart from Helius’ appeal to Zeus (Chapter 2), distinctive in its own narratorial rendition, the rest of the dialogues, namely Hermes’ message-delivery to Calypso (Prologue), the two divine assemblies (Chapter 1), plus the exchanges of Zeus with Poseidon (Chapter 2) and Athena (Epilogue) conform to set patterns of communication. Within this framework, interlocutors strongly tend towards concealment and partiality. They make extensive use of conversational implicatures, shed light only on certain sides of the story while suppressing others, and present feigned or even exaggerated arguments in order to persuade their addressee. Direct confrontation is in principle avoided, and even when it does occur, it takes a rather oblique form. In this communicative scheme, the procedure of decision-making is not clear-cut, and the concept of persuasion is fluid and hidden behind the indirect and subtle dialogic process.
9
Turner, Amanda. "Across the Sea's Broad Back: Interpreting the Role of Homer's Women in Odysseus' Quest for Ithaka." Thesis, Boston College, 2008. http://hdl.handle.net/2345/534.
Full textAbstract:
Thesis advisor: Dayton Haskin<br>Homer's Odyssey is a foundational work for the western cultural and literary tradition. It has been translated into English many times over, which reflects a certain enduring relevance of the work and its characters. This thesis examines twelve or so English translations of the Odyssey, from those of Alexander Pope and George Chapman to the modern works of Robert Fagles and Robert Fitzgerald, in their interpretations of specific moments where the hero interacts with Nausikaa, Kalypso, Athena, and Penélopê. Traditionally, although the women of the Odyssey are considered to be active and relevant to Odysseus' journey, they also pose considerable danger to his quest for Ithaka. However, by juxtaposing and comparing various translations from different time periods, we enrich our understanding of the astounding agency these women demonstrate in facilitating the hero's return. As opposed to mere tools that Odysseus utilizes as a means to an end, these women actively interfere in his journey to ensure his safety and bring to fruition the ultimate goal of restoring order on Ithaka<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: English<br>Discipline: College Honors Program
10
Offermann, Ursula. "Lebendige Kommunikation die Verwandlung des Odysseus in Homers Odyssee als kognitiv-emotives Hörerkonzept." München Iudicium, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2897341&prov=M&dok_var=1&dok_ext=htm.
Full text
11
Bostock, Robert Nigel. "A Commentary on Homer: Odyssey 11." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.484830.
Full textAbstract:
Besides Iliad 10 and the end of the Odyssey, book 11 of the Odyssey has been the most disputed passage in Homer in terms of authorship. This thesis presents the first modem scholarly commentary devoted to the book. It deals with the topic at more length than the commentaries of Stanford and Heubeck, and is more advanced than the commentary of Untersteiner, which is directed towards students. The introduction discusses the place of Od. 11 within the Odyssey, in terms of theme and narrative structure. It discusses the katabasis in early Greek myth and poetry, and argues that the ritual performed by Odysseus in Hades is not necromancy, but is based on an ordinary sacrifice to the dead. A survey is given of possible Near Eastern influences on the book. The 'problem' of Od. 11 is then addressed, in which it is argued that the book is not an interpolation, but that it is probably a later addition to a revised version ofthe poem. Hapax legomena and metre are also analysed. . The commentary itself is based broadly on three lines of interpretation: linguistic, literary, and historical. The main purpose of the thesis is to present a· detailed commentary on which further discussion of the book may be based. It is argued that 440-64 and 565-600 are interpolations, but that the rest of the book is genume.
12
Kouklanakis, Andrea. "Satire, Blame Poetics, and the Suitors in the Homeric Odyssey." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11108.
Full text
13
O'Maley, James. ""Like-mindedness"? Intra-familial relations in the Iliad and the Odyssey." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/6725.
Full textAbstract:
This thesis argues that the defining characteristic of intra-familial relationships in both the Iliad and the Odyssey is inequality. Homeric relationship pairs that are presented positively are strongly marked by an uneven distribution of power and authority, and when family members do not subscribe to this ideology, the result is a dysfunctional relationship that is condemned by the poet and used as a negative paradigm for his characters. Moreover, the inequality favoured by the epics proceeds according to strict role-based rules with little scope for innovation according to personality, meaning that determination of authority is simple in the majority of cases. Wives are expected to submit themselves to their husbands, sons to their fathers, and less powerful brothers to their more dominant siblings. This rigid hierarchy does create the potential for problems in some general categories of relationship, and relations between mothers and sons in particular are strained in both epics, both because of the shifting power dynamic between them caused by the son’s increasing maturity and independence from his mother and her world, and because of Homeric epic’s persistent conjunction of motherhood with death. This category of familial relationships is portrayed in the epics as doomed to failure, but others are able to be depicted positively through adhering to the inequality that is portrayed in the epics as both natural and laudable.<br>I will also argue that this systemic pattern of inequality can be understood as equivalent to the Homeric concept of homophrosyne (“like-mindedness”), a term which, despite its appearance of equality, in fact refers to a persistent inequality. Accordingly, for a Homeric relationship to be portrayed as successful, one partner must submit to the other, adapting themselves to the other’s outlook and aims, and subordinating their own ideals and desires. Through this, they are able to become “like-minded” with their partners, achieving something like the homophrosyne recommended for husbands and wives in the Odyssey.
14
Skempis, Marios. ""Kleine Leute" und grosse Helden in Homers Odyssee und Kallimachos' Hekale." Berlin de Gruyter, 2008. http://d-nb.info/999261991/04.
Full text
15
Colomo, D. "Select literary papyri from Oxyrhynchus." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270888.
Full text
16
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.
Full textAbstract:
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.
17
Semêdo, Rafael de Almeida. "Alcínoo versus Odisseu na corte dos feácios: um jogo discursivo." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-26022019-111534/.
Full textAbstract:
Dos Cantos 6 a 13 da Odisseia, Homero narra a estada de Odisseu em Esquéria, a terra dos feácios. Durante a recepção de Alcínoo ao herói, uma tensão sutil se desenvolve: enquanto o anfitrião deseja descobrir a identidade de seu misterioso convidado, o herói luta para manter-se anônimo e garantir sua condução para casa. Essa tensão se desenrola num jogo de palavras sutil e elegante, no qual se digladiam o mestre da astúcia, o polúmetis Odisseu, e aquele de forte mente, alkí-nóos, o perspicaz Alcínoo. A essa disputa dou o nome de jogo do discurso. Conforme aqui defendo, tal jogo toma forma abaixo da superfície das palavras, e seus dois participantes conversam muito mais por meio do não-dito do que pelo que de fato dizem. Para que uma análise desse jogo intelectual seja possível, proponho um resgate da figura de Alcínoo, cujo nome defendo significar alkí-nóos, força-mente, como figura astuta e perspicaz, o que vai de encontro à opinião difundida de que o rei dos feácios é anódino ou pouco inteligente. Conforme argumento, ele permanece atento às manobras retóricas de seu convidado, o qual busca a todo custo tecer discursos agradáveis e proveitosos (meilíkhioi kaì kerdaléoi mûthoi), num processo que culmina com sua cartada final: a narrativa das aventuras. Alcínoo, mesmo percebendo os recursos astuciosos e manipulativos de seu convidado, rende-se a seus talentos e regozija-se com sua performance.<br>From Book 6 till the beginning of Book 13 in the Odyssey, Homer tells us of Odysseus sojourn in Scheria, the land of the Phaeacians. During Alcinous reception of the hero, a subtle tension develops between the two: while the host wishes to discover the identity of his mysterious guest, the hero strives to remain anonymous and secure his conveyance home. This tension unfolds in a subtle and elegant game of words in which the two oponents meet: the master of of tricks, Odysseus polúmetis, and the one of a strong mind, alkí-nóos, shrewd Alcinous. I call this contest the discourse game. As I wish to defend, such game takes place beneath the surface of words, and the participants maintain a conversation in which what remains unexpressed communicates more than what is actually said. For such an analysis to be possible, I propose to rescue Alcinous, whose name I claim to mean strength-mind, from the widespread opinion that the king is foolish or unintelligent. As I argue, he is very attentive to the rhetorical maneuvers of his guest, who is trying to fabricate pleasing and profitable speeches (meilíkhioi kaì kerdaléoi mûthoi), in a process that culminates with his final play: the narrative of the adventures. Alcinous, although detecting and understanding the crafty and manipulative purposes of his guest, surrenders to his talents as a storyteller and enjoys his performance.
18
Partanen, Paulina. "Navigating Female Power : (De-) Constructing the Space of the Immortal Threat in Homer’s Odyssey." Doctoral thesis, Uppsala universitet, Religionshistoria, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-286865.
Full textAbstract:
The purpose of this study is to locate spatial manifestations of power, and acts of agency, by conducting a subversive reading of the female immortal threats in Homer’s Odyssey. With an aim to question preconceived notions on sexuality, gender and power, I draw on the theoretical perspectives of gender theorists J. Butler and J. Halberstam in my reading of non-normative female displays of power. The material in question is the adventures in the Odyssey that present female immortals, functioning as antagonists in the epos’ narrative structure. Space and power make the foundation in the deconstruction of these adventures. I approach the subject using analytical tools from the spatial methodology of K. Knott. Starting with ‘location’ I apply analytical categories such as ‘physical space’, ‘social space’, ‘properties of space’ and ‘spatial aspects’ in order to critically analyze spatial manifestations of power in each adventure. By placing the female immortal in the subject position, this work shows how she utilizes her space in order to dominate the mortal man she encounters. This is conducted through non-normative acts such as isolation and restriction. The study highlights the problem of putting ‘sex’ as the only, or dominant, focus in the reading of these adventures. The female immortals that Odysseus encounters, can by spatial analysis be shown to act autonomously towards mortal intruders that enter their territory. They present themselves as having the right to take a mortal man for a husband, as well as kill him or keep him as a prisoner. This suggests that their status as immortal exceeds Odysseus’ male gender, whilst still being restricted by the gender hierarchy of her immortal society. The spatial analysis show that the female immortal possesses the agency of the mortal female as well as of the mortal male within in their oikos. The female immortal displays power by sustaining her space, as well as by regulating the movements of the mortal man, in and out of, and sometimes beyond, her space.
19
Power, Michael O'Neill, and mopower@ozemail com au. "Transportation and Homeric Epic." The Australian National University. Faculty of Arts, 2006. http://thesis.anu.edu.au./public/adt-ANU20070502.011543.
Full textAbstract:
This thesis investigates the impact of transportation the phenomenon of being miles away while receiving a narrative on audience response. The poetics of narrative reception within the Homeric epics are described and the correspondences with the psychological concept of transportation are used to suggest the appropriateness and utility of this theory to understanding audience
responses in and to the Iliad and Odyssey. The ways in which transportation complements and extends some concepts of narrative reception familiar to Homeric studies (the Epic Illusion, Vividness, and Enchantment) are considered, as are the ways in which the psychological theories might be adjusted to accommodate Homeric epic. A major claim is drawn from these theories that
transportation fundamentally affects the audiences interpretation of and responses to the narrative; this claim is tested both theoretically and empirically in terms of ambiguous characterization of Odysseus and the Kyklōps Polyphēmos in
the ninth book of the Odyssey. Last, some consideration is given to the ways in which the theory (and its underlying empirical research) might be extended.
20
Skempis, Marios. ""Kleine Leute" und grosse Helden in Homers Odyssee und Kallimachos' Hekale." Berlin : De Gruyter, 2010. http://site.ebrary.com/id/10381235.
Full text
21
Åberg, Joakim. "The process of Individuation in Willy Loman : A Jungian Archetypal Literary Analysis of the Protagonist in Arthur Miller’s Play Death of a Salesman Compared to the Classical Hero of Odysseus in Homer’s The Odyssey." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-31001.
Full textAbstract:
This study is an archetypal literary analysis of Arthur Miller’s play Death of a Salesman and Homer’s The Odyssey. The analysis aims to demonstrate how Arthur Miller’s protagonist, Willy Loman, in Death of a Salesman demonstrates several stages of Carl Gustav Jung’s theory of the individuation process, similar to Odysseus in Homer’s The Odyssey. This is done by identifying set archetypes and stages of Jung’s individuation process, the persona, the shadow, the anima, and the self. After that, the stages are applied to both Miller’s play and Homer’s epic poem. The analysis shows that both protagonists demonstrate and complete Jung’s individuation process. Willy Loman completes a symbolic journey, whereas Odysseus completes a physical one.
22
Neumeister, Scott Leslie. "Circling Back Home: A Lifelong Odyssey into Feminism." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4378.
Full textAbstract:
What happens when a classroom becomes more than just a site of intellectual growth and evolves into a locus of emotional, social, and spiritual transformation? What happens when a student in such a classroom also occupies the role of teacher and desires to reproduce such a transformative environment for his students? In brief, this thesis answers these questions by offering a narrative and critique of my personal "conscientization" via feminism and elucidates the theory behind, my approaches toward, and the results of my bringing graduate-level feminist theory and pedagogy to a middle school English classroom. I examine how my experiences as a student in both the past and the present have merged to shape my work as a teacher and have set me on the path to becoming a professor, not only in the sense of a college teacher as a profession but as a person who professes, who openly declares the truths of my past as both dehumanizer and dehumanized to help others come to critical consciousness.
First, I autobiographically critique my learning and assimilation of The Iliad and The Odyssey in middle school, reflecting upon how these works occupied a major part of my indoctrination into the hyper-masculine, white, patriarchal, upper-class dogma of the culture, as well as bringing a feminist perspective to bear upon these personally influential epics. Next, I examine my studies in the University of South Florida's master's program in English literature and, in particular, my direct and life-changing encounter with feminism in a 2009 course in feminist theory, which facilitated a complete re-visioning of my life and led to a personal renaissance. The final part of this circular path leads me back to my teaching of the same classical texts that so greatly influenced me as a young man, and I explain how my transformative experiences with both feminist theory and pedagogy motivated me to distill their critical approaches into a form and format that I have successfully implemented for my middle-school classroom.
23
Sais, Lilian Amadei. "Mulheres de Homero: o caso das esposas da Odisseia." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-09032017-113301/.
Full textAbstract:
O presente trabalho visa a analisar um grupo específico de personagens femininas na Odisseia de Homero: as esposas de reis. Por esposas entendo as mulheres casadas (mortais) que estão vivas no momento presente da narrativa do poema, a saber: Helena, Arete e Penélope. Escolhi estudá-las de acordo com as funções que me parecem ser as mais importantes desempenhadas por elas nesse poema homérico; desse modo, dividi a pesquisa em duas partes, de acordo com esses papéis: a primeira parte consiste na análise das mulheres em cenas de hospitalidade, a segunda, em cenas de narrativas embutidas enunciadas por elas. Assim, analisarei as mulheres enquanto anfitriãs e narradoras. Em ambos os tipos de cena, faz-se presente o tema da tecelagem, que em Homero constitui tarefa exclusivamente feminina, e que também é importante para compreender as personagens femininas dentro do recorte aqui escolhido.<br>This study analyses a group of female characters in Homers Odyssey: kings wives. By wives, I mean married (mortal) women alive during the poems plot: Helen, Arete and Penelope. I have studied the most important functions they perform in the epos; each part of the thesis is dedicated to one of them: the first one analyses how wives act in hospitality scenes, the second one, the embedded narratives told by them. Thus, my object is to discuss their role as hostesses and storytellers. Weaving, which is a typical female activity in Homer, is an important theme in both types of scene and proves to be relevant to understanding the aformentioned roles.
24
McConnell, Adelaide Justine. "Some postcolonial responses to the Homeric Odyssey, with particular reference to Africa, 1939-2008." Thesis, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540114.
Full text
25
Zanon, Camila Aline. "Onde vivem os monstros: criaturas prodigiosas na poesia hexamétrica arcaica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-13022017-130921/.
Full textAbstract:
O objetivo desta tese é analisar as criaturas amiúde consideradas monstruosas bem como os termos geralmente traduzidos por monstro presentes em três poemas da tradição de poesia hexamétrica arcaica, a saber, a Teogonia de Hesíodo, o Hino Homérico a Apolo e a Odisseia de Homero. A análise dessas criaturas tem como foco o modo como são descritas e o papel que desempenham nas narrativas contidas nesses poemas, para a qual são utilizadas como abordagem teórico-metodológica a referencialidade tradicional proposta e desenvolvida por John Miles Foley ao longo da década de 1990 bem como a perspectiva de que os poemas que constituem a tradição hexamétrica arcaica compõem uma história do cosmo, conforme desenvolvida por Barbara Graziosi e Johannes Haubold na década de 2000. Como resultado da análise das criaturas, de um lado, e dos termos traduzidos por monstro, de outro, questiona-se a pertinência da categoria monstro como geralmente pressuposta para essas criaturas no mundo moderno, tendo-se em vista que ela possa não existir na poesia hexamétrica arcaica, já que fazem parte de um sistema de pensamento em um mundo ainda não desencantado em termos weberianos, no qual a realidade empírica e a esfera divina enquanto representativa do sobrenatural estão profundamente imbricadas. Como instrumental teórico-metodológico para o questionamento acerca da existência ou não do monstro enquanto categoria em tal tradição poética, lançou-se mão das teorias de categorização de Wittgenstein, desenvolvida nas décadas de 1940 e 1950, daquelas desenvolvidas por Eleanor Rosch e sua equipe durante a década de 1970, bem como as presentes nas obras de George Lakoff a partir da década de 1980. A proposição de que a categoria monstro como pressuposta e entendida no mundo moderno é inexistente para a poesia hexamétrica arcaica tem implicações na compreensão moderna dessas criaturas, que devem ser percebidas enquanto integrantes de um cosmo que não separa o sobrenatural, o maravilhoso e o divino nos mesmos termos que o faz a sociedade moderna ocidental, revelando a necessidade de compreender essas criaturas sob o ponto de vista da tradição que as criou ou as incorporou e ressignificou.<br>The aim of this thesis is to analyse the creatures often considered monstrous as well as the words generally translated as monster in three poems belonging to the tradition of archaic hexametric poetry, namely, Hesiod\'s Theogony, the Homeric Hymn to Apollo, and Homer\'s Odyssey. The analysis of the creatures focuses on the ways they are described and the role they play in the narratives presented in those poems. The theoretical and methodological approach used to such analysis is the traditional referenciality proposed and developed by John Miles Foley in the 1990\'s in addition to the perspective that such poems that inform the archaic hexametric tradition constitute a history of the cosmos, as developed by Barbara Graziosi and Johannes Haubold during the 2000\'s. The analysis of the creatures, in one hand, and of the words translated by monster, in the other, results in questioning the validity of the monster category as usually taken for granted in the modern world, considering that it might not exist in archaic hexametric poetry, since those creatures are part of a system of thought in a world not yet disenchanted in Weberian terms, in which the empirical reality and the divine sphere as representative of the supernatural are deeply entangled. As theoretical and methodological framework for questioning the existence of monster as a category in such poetical tradition, this thesis adopted the theories of categorization formulated by Wittgenstein during the 1940\'s and 1950\'s, as well as the theories developed by Eleanor Rosch and her team during the 1970\'s, along with the ones presented by George Lakoff from 1980\'s onward. The proposition that the category of monster as pressuposed and understood by the modern world is non-existent in archaic hexametric poetry has consequences to the modern understanding of those creatures which must be perceived as part of a cosmos that does not separate the supernatural, the wonderful, and the divine in the same terms as the modern western world does, revealing the need to understand those creatures under the point of view of the tradition that created them or incorporated and ressignified them.
26
Moon, Sungchan. "Mark’s Young Man and Homer’s Elpenor: Mark 14:51-52, 16:1-8 and Odyssey 10-12." Scholarship @ Claremont, 2018. https://scholarship.claremont.edu/cgu_etd/112.
Full textAbstract:
Mark obviously says that all of the disciples of Jesus desert him and flee (Mark 14:50). Mark, however, introduces a young man as a new character who was following Jesus like other disciples and fled naked before Jesus’s suffering. This young man is the most enigmatic character in Mark. In particular, the young man never appears in other Gospels. For this reason, the young man’s identity and his conduct has been a topic of longstanding dispute among scholars.
Some regard him as historical figures, one of Jesus’ own disciples like John the son of Zebedee, James the Lord’s brother, or John Mark. They consider him as witness of Jesus. Others take the young man to be symbolic figures like an angel, Jesus himself, Christian initiate, and a representative of disciples’ reality. In this work, I suggest that the young man is Mark’ literary creation by imitating Homeric model of Elpenor. Mark relies on a specific genetic model, not on historical reports of witness or symbolic interpretation.
Mark’s literary intention by using Homer’s Elpenor is to substitute his own value for Homer’s. The idea of the afterlife in Homeric epics is replaced to Christianized the concept of the afterlife that is resurrection. In addition, the identity of the young man is Mark’s creation as a
stand-in to substitute for Jesus and exculpate him from responsibility for not warning his disciples before the Jewish Temple destruction. According to Mark’s Gospel, Jesus himself told his disciples in advance. Moreover, the young man in Jesus’s empty tomb provides the three women with the message of Jesus to escape from the tragic incident. Therefore, nobody would blame Jesus for the suffering of the Jerusalem Church in Jewish war. The women’s failure to transmit the message doomed Jesus’ followers to the carnage of the war.
The identity of the young man in Mark’s Gospel can be detected by considering Mark’s literary model and his mimetic achievement. As a creative and skillful author, Mark imitates well-known model in Greco-Roman literary world. Mark, however, does not just copy of the model; Mark emulates and transforms it to replace the concept of the afterlife. In addition, Mark’s mimetic achievement in the episode of the young man is to convey the supremacy of Jesus by exculpating him from responsibility not saving his followers from the catastrophe. Mark’s Gospel is the response for the issue. In sum, Mark’s dependence on Homer explains the most enigmatic character and scene in Mark.
27
Johansson, Tuva. "Den gudomliga döden : Hur död och dödande uppfattas i Homeros Odysséen." Thesis, Uppsala universitet, Antikens kultur och samhällsliv, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297318.
Full textAbstract:
How people perceive life and death changes over time and space. The question of a peoples’ comprehension about life and all that comes with it is significant in understanding a long gone civilization. The purpose of this essay is to investigate the different ways which people in Homers Odyssey die, and whether these were considered “good” or “bad” according to the values and rules of the society of that time. Furthermore, I will examine if there are more or less acceptable reasons to kill someone. Both overarching aims will be attained by studying the Odyssey and analyzing all that has to do with death, perception of justice, the gods, and fate, to the extent of which this is possible. The epic poem, being one of few surviving literary works of the 8th century B.C. and possibly the oldest preserved Greek and European literary work, is a rare glimpse into the minds of a 3000-year-old people. The Odyssey will be explored using an empirical approach with my own opinions and values as a framework in order to better understand the concept of death in the ancient Greek world as Homer echoes it. The main source being used in my analysis is undoubtedly the Odyssey itself, since this contains all of the deaths and all of the conceptions of death that I wanted to access. Apart from the Odyssey I have also looked at the Iliad, to be able to illustrate similarities and differences between the two epics. Robert Garlands’ book The greek way of death as well as Death in the greek world by Maria Serena Mirto have given me a solid foundation concerning death overall in the ancient greek world. Garland writes about death as a process and examines the current evidence surrounding it, while Mirto, a bit more personally, analyzes the different stages of death and how people reacted to them. More centered information on the subject I have collected from Jasper Griffins’ Homer on life and death and Eric A. Havelocks’ The greek concept of justice. Griffin explores how life and death is depicted in the Homeric epics, and more closely the significance of death and the power of the gods. Havelock analyzes in his book the works of mainly three ancient writers (Homer, Hesiod and Plato) and the influence these have had over time on the development of justice in the minds of the ancient greek people. I came to the conclusion that there was indeed more or less “good” and “bad” ways to die, just as there was more or less “accepted” reasons to kill a man according to other men and the gods respectively, depending on the situation. People die in many diverse ways in the epic, each of which gives something to the discussion concerning how people perceived life and death in the age of Homer.
28
Walczyk, Kevin 1964. "Two Movements from the Delphic Suite: A Composition for Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc501059/.
Full textAbstract:
Delphic Suite is a composition for orchestra that depicts specific events narrated in Homer's epic tale, Odyssey. For the purpose of this thesis the second movement, Raid on Ismarus, has been omitted so as to focus on the melodic, rhythmic, and harmonic structures of the first movement, Lament from Troy, and the third movement, Ruler of the Winds. Each of these musical parameters will be analyzed in order to illustrate the Suite's imitation of compositional techniques exemplified in the music of Homer's era, and the musical results obtained by juxtaposing those parameters upon a twentieth-century tonal scheme that provides the Suite with an eclectic ambience.
29
Privitera, Siobhán Marie. "Brain, body, and world : cognitive approaches to the Iliad and the Odyssey." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25464.
Full textAbstract:
This thesis investigates the physical, material, and experiential aspects of thought and emotion in the Iliad and the Odyssey; more specifically, the ways in which the Homeric mind is extended through and by the body, and in which the body and its extensions express, illustrate, and inform psychological processes and mental concepts in Homer. Recent studies in cognitive science—in embodied, extended, embedded, and enactive approaches to mind—demonstrate the extent to which our psychological development is deeply and inextricably shaped not just within the confines of the brain, but also in the body and the world. This thesis seeks to apply these insights to the Iliad and the Odyssey, in order to show how this is also the case for Homer’s characters. In doing so, it primarily argues that Homeric conceptualizations of mind constitute the narrator’s way of presenting a “phenomenology of experience” throughout the poems: a reconstruction of the psychological workings of his characters that draws upon the physical, material, perceptual, and interactional aspects of experience.
30
Yoon, Sun Kyoung. "(Re)-constructing Homer : English translations of the Iliad and Odyssey between 1850 and 1950." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/47079/.
Full textAbstract:
This thesis seeks to investigate how translation is influenced by the translator's contexts, dealing with English translations of Homer between 1850 and 1950. English versions of the Iliad and Odyssey by eight translators from different periods are examined chronologically in their historical contexts, with reference to social, political and ideological circumstances. My methodology involves making use of translators' metatexts and other types of texts in combination with comparison of the translated texts. The debate between Matthew Arnold and Francis Newman reveals conflicting ideologies in the nineteenth century: the former committed to promoting a noble template for his society, the latter seeking to reproduce with exacting standards what he perceived as the true peculiarity of the poet. This ideological opposition is reflective of the intrinsic link between translators' interpretations of Homer and attitudes toward translation, and the Victorian age, in social, ideological and political terms. The thesis continues with two more Victorian translators William Morris and J. S. Blackie, focusing on the practice of archaism. Morris translated the Odyssey within a widespread movement of medieval revival. The same applies to Blackie's translation of the Iliad, but his medievalism was connected to the issue of Scottish identity. They idealised history and expressed their vision literalistically through archaising. The focus then changes to examine modernist versions of the Odyssey by Ezra Pound and H. D. Their fragmentary translations were good examples of the modernist project to achieve novelty and originality. Homer represented 'tradition' to engage with in order to pursue the ambition to, in Pound's famous expression, 'make it new'. The modernists took translation as an implement for revisiting the literary tradition. Lastly, this thesis explores mid-twentieth century prose translations by E. V. Rieu and I. A. Richards. Influenced by the egalitarianism of mid-twentieth-century Britain, they attempted to make their translations accessible to everyone. These translations of Homer were targeted at the 'general reader', and for that purpose, Rieu and Richards transformed Homer's originals into novels.
31
Bocchetti, Carla. "Cultural geography in Homer : studies on nature and landscape in the 'Iliad' and 'Odyssey'." Thesis, University of Warwick, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269540.
Full text
32
Clare, Raymond John. "Aspects of space and movement in the Odyssey of Homer and the Argonautica of Apollonius Rhodius." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261502.
Full text
33
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.
Full textAbstract:
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.
34
Wirz, Christian. "Der gekreuzigte Odysseus "Umbesetzung" als Form des christlichen Verhältnisses zur Welt als dem Anderen." Regensburg Pustet, 1993. http://deposit.ddb.de/cgi-bin/dokserv?id=2641196&prov=M&dok_var=1&dok_ext=htm.
Full text
35
Ivier, Marica. "De l'errant à l'artiste : le rayonnement d'Ulysse dans l'œuvre romanesque de Jean Giono /." Uppsala : Uppsala universitet, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9394.
Full text
36
Ho, Jenny. "Odysseus irrfärd : Existentiella, psykologiska och religionshistoriska idéer i det homeriska eposet." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-149659.
Full textAbstract:
This paper compares Odysseus and Achilles from an existential, psychological and religious perspectives in order to understand the Homeric characters and shed light on the importance of, particularly Odysseus, in our postmodern time. It starts by describing the Homeric field of research and the ideas about Odysseus that were common for the ancient Greek philosophers, and continues with the discussion of the topicality, value and advantage in studying the antiquity. In comparing Odysseus and Achilleus, the paper elaborates on the idea of the relationship between man and god, notably the relationship between Odysseus and Athena and Zeus respectively. It ends with the discussion of the divine connection between Zeus’ and Odysseus’ kingship.
37
Renger, Almut-Barbara. "Zwischen Märchen und Mythos die Abenteuer des Odysseus und andere Geschichten von Homer bis Walter Benjamin ; eine gattungstheoretische Studie." Stuttgart Weimar Metzler, 2000. http://deposit.ddb.de/cgi-bin/dokserv?id=2803674&prov=M&dok_var=1&dok_ext=htm.
Full text
38
Vodoklys, Edward J. "Blame-expression in the epic tradition." New York : Garland, 1992. http://catalog.hathitrust.org/api/volumes/oclc/25130912.html.
Full text
39
Stark, Martin. "Hjältar, Hober och Homeros : En studie av maskulinitet i äventyrsberättelser." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185009.
Full textAbstract:
Den här uppsatsen undersöker hur resemotivet i Odysséen respektive The Lord of the Rings bidrar till att konstruera de manliga huvudkaraktärernas roll som maskulina hjältar. Genom en jämförelse mellan Odysseus och Frodo är syftet även att säga någonting om synen på maskulinitet i deras samtid. Det som blir tydligt är att maskulinitet och hjälteskap inte är lika synonyma i The Lord of the Rings som i Odysséen. Odysseus är en reflektion av den hegemoniska maskuliniteten i sin samtid; såväl hans maskulinitet och heroiska drag bygger på ära, hämnd, aggressivitet, rationalitet och kontroll. Odysséen har bidragit till att upprätthålla det antika Greklands syn på maskulinitet. I The Lord of the Rings är Frodo ett exempel på hur en hjälte inte behöver vara maskulin i samma bemärkelse. Hans vänskap med Sam visar att även feminina drag stämmer in på en modernare hjälte. Han behöver inte vara aggressiv eller ärelysten, utan hans mentala mod att kunna offra sig för någonting större än honom själv är en del av hans hjälteskap. I The Lord of the Rings är den traditionella hjälterollen, som Odysséen delvis har lagt grunden för, istället uppdelad mellan olika karaktärer.
40
Llorca, Vicenç 1965. "Sota el signe de l'Odissea: el viaggio in Italia del cinema modern: de Rossellini a El menyspreu." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/328434.
Full textAbstract:
Aquesta tesi pretén demostrar que l’Odissea constitueix un dels eixos vertebradors del cinema modern, ja que actua com a signe des del qual s’estableix un paradigma interpretatiu de la pròpia modernitat cinematogràfica i com a focus de noves formes artístiques i nous continguts temàtics. El film que ho fa possible és Le Mépris (1963) de Jean-Luc Godard. Per fonamentar-ho, s’hi han investigat dos aspectes clau: la influència de Roberto Rossellini i l’evolució del cinema italià de la mà d’Antonioni i Fellini, i el diàleg establert entre l’obra de Godard i la novel•la de la qual parteix, Il disprezzo (1954) d’Alberto Moravia. Aquestes dues línies d’anàlisi reconeixen com a comú denominador el tractament temàtic del sentiment del menyspreu, esdevingut símbol de l’evolució de la parella en la segona meitat del segle XX i de la metàfora del buit i de la crisi de valors de l’època.<br>This thesis aims to demonstrate that the Odyssey is one of the backbones of modern cinema as it acts as a sign from which it establishes an interpretative paradigm of modern cinema itself and as a source of new artistic forms and new thematic content. The film that makes this possible is Le Mépris (1963) by Jean-Luc Godard. In support of this, two key aspects were investigated: the influence of Roberto Rossellini and the evolution of Italian cinema through directors Fellini and Antonioni, and the dialogue established between Godard's work and the novel from where it starts, Il disprezzo (1954) by Alberto Moravia. These two lines of analysis have one common denominator: The way in which the feeling of contempt is treated, by becoming a symbol of the evolution of couples during the second half of the twentieth century and also of the metaphor of the void and of the crisis of moral values from that time period.
41
Renger, Almut-Barbara. "Zwischen Märchen und Mythos die Abenteuer des Odysseus und andere Geschichten von Homer bis Walter Benjamin : eine gattungstheoretische Studie /." Stuttgart : Metzler, 2006. http://catalog.hathitrust.org/api/volumes/oclc/76809073.html.
Full text
42
Freeland, Debra Jeanette. "ODYSSEUS RE-IMAGINED: EXPERIMENTAL FICTION RESPONDS TO THE CALL OF THE ANCIENTS- TECHNOLOGY AND SCIENCE FULFILL CLASSIC EPIC DEVICES IN CLOUD ATLAS AND THE SILENT HISTORY." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/929.
Full textAbstract:
The timeless, lyrical poem of Ancient Greece, revered for its grand battles, supernatural forces and legendary heroes is a fading memory of a forgotten past. Many critics, scholars, and authors like Theodore Steinberg concur, “. . . “[the] twentieth-century epic” is oxymoronic, the epic died with Milton” (10). Yet, the echoes of the past resound in the present as the characteristics and literary conventions of the Homeric epic are easily found in contemporary genres, including fantasy, sci-fi, and dystopian fiction. What has emerged is not a repeat of the past, but something different, something new. The influence of science and technology is apparent even to the most relaxed reader. Contemporary writers have adapted forms of technology, communication, and modern science to perform as the traditional literary devices of the epic genre.
In his book, Epic in American Culture, Christopher N. Phillips remarks that ,”Epic did not die with Milton . . . it developed new power and shape. . .” as writers dismissed the traditional formats to allow for artistic growth advancing the use and understanding of epic, “. . . the new insights, literary and cultural history that emerge once synchronic, monolithic definition of form are abandoned-the surprises in the archive of American literary engagements with the epic form are myriad” (4,10). This release of boundaries allowed space to create, one that intersects with specific moments in time and sociocultural influence, allowing the inclusion of modern understanding and experiences. I found a kernel in Catherine Morley’s book, The Quest for Epic, where she examines the influence of the epic on the American novel, and the means with which writers continue to approach and engage epic , “. . . compulsively and consciously appropriated and reinvented aspects of the antique and the modern European epic traditions to advance their own aesthetic designs” (13). Furthering the writer’s vision is only part of the epic’s adaptation, and the formulation of other genres, including sci-fi and fantasy, provide many reference points in its long evolutionary cycle. Why the need for new genres? What did writers have to address to warrant these spaces? Technology was one answer. Technological advancements placed a demand upon writers, stirring the authors to push against canonical boundaries. The cultural importance of the mythology surrounding the epic is infused, and the result is an expanded, (dare I say new?), technology rich, contemporary epic. Same genus, different species.
So, what does this new cutting-edge insertion look like? How does it function? What role does technology play in contemporary figuration's of the epic? How does modern science perform in ancient conventions? Can they maintain the ethos of the traditional Homeric epic? This thesis will investigate through literary scholarship and theory, Homer’s classics, Iliad and The Odyssey, and two contemporary novels, David Mitchell’s Cloud Atlas and The Silent History by Eli Horowitz, Matthew Derby, and Kevin Moffett.
43
Dantas, Michelle Bianca Santos. "Tragicidade no canto XI da Odisséia : Anticléia, Agamêmnon, Aquiles e Ájax." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6178.
Full textAbstract:
Made available in DSpace on 2015-05-14T12:39:31Z (GMT). No. of bitstreams: 1
arquivototal.pdf: 2003021 bytes, checksum: 389c611005766052d62013008d73cd89 (MD5)
Previous issue date: 2011-04-11<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Le présent travail, Tragicité dans le Chant XI de l Odyssée : Anticlea, Agamemnon, Achilles et Ajax, vise à analyser les aspects tragiques observés dans le Chant XI de l Odyssée et, en conséquence, sa pertinance dans la structure de l épique homérique rapportée. Ces aspects seront étudiés, a partir des rencontres d Odysseus, dans l Hadès, avec sa mère Anticlea, Agamemnon, Achilles et Ajax. De telle façon, nous utiliserons, entre autres oeuvres, La Poétique, d Aristote, et ses considérations sur le genre épique et le tragique. Cette oeuvre sera fondamentale pour le développement de notre travail, par être un héritage des plus importants que nous avons sur la définition des genres et de la structure de la poi¢hsij. En outre, dans cette oeuvre nous trouvons aussi considérations sur les éléments tragiques, comme aãth, Moiªra, a¹na¯gkh, dai¯mwn, a¨marti/a, uÁbrij, fo¯boj, e¹le/oj, a¹nagnw¿risij et, principalement, sur la ka/tarsij. Tels éléments, comme nous analyserons, peuvent aussi être reconnus dans l épique homérique. Ainsi, nous constaterons, dans notre recherche, l assertive d Aristote, au Ve siècle ap. J.-C, concernant l intergénéricité. Comme nous voyons, ce fait n est pas privilège des littératures modernes, mais, au contraire, cela peut être envisagé depuis la Période Archaïque de la Littérature Grecque, au VIIIe siècle av.J.-C., à partir d Homère et, dans le cas espécifique de notre étude, dans le Chant XI de l Odyssée. Dans celui-ci, nous observons la manifestation de la tragicité que, plus tard, au Ve siècle av. J. -C., ce sera le fondement mythique des tragédies grecques. Nous utiliserons aussi, pour se baser compréhension du tragique, auteurs comme Vernant, Pierre Grimal, Jacqueline de Romilly, Sandra Luna, Junito Brandão entre autres. Afin que nous puissions mieux embrasser l objectif de notre travail, nous l avons divisé en trois chapitres : le premier intitulé, « Contextualisation mythique et religieuse de l Odyssée » ; le deuxième, « Tragique : aspects théoriques et conceptuels » ; et, finalement, le troisième, « Tragicité dans le Chant XI de l Odyssée : Anticlea, Agamemnon, Achilles, Ajax », où nous analyserons l aspect tragique de ces rencontres.<br>O presente trabalho, Tragicidade no Canto XI da Odisséia: Anticléia, Agamémnon, Aquiles e Ájax, visa analisar os aspectos trágicos observados no Canto XI da Odisséia e, consequentemente, sua relevância na estrutura da referida épica homérica. Esses aspectos serão estudados, a partir dos encontros de Odisseu, no Hades, com a sua mãe Anticléia, Agamémnon, Aquiles e Ájax. Para tanto, utilizaremos, entre outras obras, A Poética, de Aristóteles, e suas considerações sobre o gênero épico e o trágico. Esta obra será fundamental para o desenvolvimento do nosso trabalho, por ser um legado dos mais importantes que temos sobre a definição dos gêneros e da estrutura da poi¢hsij. Além do mais, nela também encontramos considerações sobre os elementos trágicos, como aãth, Moiªra, a¹na¯gkh, dai¯mwn, a¨marti/a, uÁbrij, fo¯boj, e¹le/oj, a¹nagnw¿risij e, principalmente, sobre a ka/tarsij. Tais elementos, como analisaremos, também podem ser reconhecidos na épica homérica. Assim, constataremos, em nossa pesquisa, a assertiva de Aristóteles, no século V d.C, acerca da intergenaricidade. Como vemos, esse fato não é privilegio das literaturas modernas, mas, ao contrário, pode ser contemplado desde o Período Arcaico da Literatura Grega, no século VIII a.C, a partir de Homero e, no caso específico do nosso estudo, no Canto XI da Odisséia. Neste, observamos a manifestação da tragicidade que, mais tarde, no século V a.C, será o fundamento mítico das tragédias gregas. Utilizaremos também, para fundamentar-nos compreensão do trágico, autores como Vernant, Pierre Grimal, Jacqueline de Romilly, Sandra Luna, Junito Brandão entre outros. A fim de que possamos melhor abarcar o objetivo do nosso trabalho, dividimo-lo em três capítulos: o primeiro intitulado, ―Contextualização mítica e religiosa da Odisséia‖; o segundo, ―Trágico: aspectos teóricos e conceituais‖; e, por fim, o terceiro, ―Tragicidade no Canto XI da Odisséia: Anticléia, Agamêmnon, Aquiles, Ájax‖, em que analisaremos o aspecto trágico desses encontros.
44
Sverin, Simon. "Athene, Obi-Wan and Yoda as Mentors with Masks : Characters representing a millennia old story-telling tradition." Thesis, Högskolan i Halmstad, Språk, kultur och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33389.
Full text
45
OLIVEIRA, RODRIGO SANTOS PINTO DE. "LIE IN THE PERSPECTIVE OF PLATO S LESSER HÍPPIAS, HOMER S ILIAD AND SOPHOCLES PHILOCTETES: AS TRUE AND SIMPLE, AND ODYSSEUS, MULTIFACETED AND FALSE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35900@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>Tendo como princípio a inquietação causada pelo questionamento de Sócrates no Hípias Menor de Platão (363a-364c): Qual personagem, entre Aquiles e Odisseu, seria superior? A presente dissertação leva em consideração o direcionamento do diálogo acerca do que seja a mentira segundo a ótica platônica, e dedica-se especificamente a descobrir quem destes poderia ser compreendido como um mentiroso: entre Aquiles e Odisseu, quem estaria mentindo? Primeiramente a pesquisa deseja averiguar as definições que sejam provenientes do diálogo platônico, para em seguida retornar para a cena da epopeia homérica em que seja possível definir para qual herói caberia a alcunha de mentiroso. Abalizado pelos critérios extraídos do diálogo entre Sócrates e Hípias, a busca pela cena que atenda às definições necessárias para a mentira se direciona às tragédias, onde o Filoctetes de Sófocles se sobressai entre as demais remanescentes, por atender aos critérios e nos permitir examinar a mentira de modo a justapor definições e critérios à cena que melhor exemplifica o caso. Em suma, metodologicamente tenta-se conjecturar para além do que se vê no diálogo Hípias Menor, buscando exemplo mais oportuno do que aquele dado pelo sofista a Sócrates, contudo, sem deixar de atentar para os argumentos e definições expostas, deseja-se chegar mais próximo de uma compreensão menos aporética deste diálogo, lançando mão do exemplo como um recurso didático que pode ajudar concomitantemente na compreensão do que seja a mentira, ao mesmo passo que se observe quem seja um mentiroso.<br>Taking as a principle the uneasiness caused by Socrates questioning in Plato s Hippias Minor (363a-364c): which character, between Achilles and Odysseus, would be superior? This dissertation takes into account the direction of the dialogue about the lie according to the Platonic perspective, and is dedicated specifically to discover who could be understood as a liar: between Achilles and Odysseus, who would be lying? First, the research wants to ascertain the definitions that come from the Platonic dialogue, and then return to the scene of the Homeric epic where is possible to define which hero would be named as the liar. By the assignments taken as criteria drawn from the dialogue between Socrates and Hippias, the search for the scene that meets the necessary definitions for the lie is targeted to the tragedies, where the Sophocle s Philoctetes excels among the plays remaining fully, to revel the criteria and allowing us to examine the lie in order to juxtapose definitions and criteria to the scene that best exemplifies the case. In sum, this dissertation tries methodologically to conjecture for beyond what is seen in Hippias Minor, seeking a more opportune example than that given by the Sophist to Socrates, yet without neglecting the arguments and definitions set forth, it is desired to get closer to a complete understanding of this dialogue, using example as a didactic resource that can help concomitantly in the understanding of what is the lie, at the same time as observing who could be a liar.
46
Reboul, Marianne. "Comparaison semi-automatique des traductions en langue française de l’Odyssée d’Homère (1547-1955)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040103.
Full textAbstract:
Cette étude explore l’ensemble des traductions de l’Odyssée d’Homère en langue française depuis la Renaissance jusqu’à nos jours. Elle participe à la constitution d’une histoire des traductions à partir du nouvel outillage technique et conceptuel offert par le numérique, qui permet d’envisager à nouveaux frais l’histoire des traductions d’un texte fondateur de la civilisation occidentale. Notre hypothèse, selon laquelle le tournant dans la manière de traduire Homère s’effectue entre la fin du XVIIIe siècle et le début du XIXe siècle en France, avec les progrès de l’archéologie et de la philologie, a pu être vérifiée tout au long de cette étude, grâce au programme que nous avons construit. Cette étude a donc pu retracer à la fois l’histoire des traductions de l’Odyssée et se rattacher à l’histoire plus large qu’est l’histoire des traductions. Notre étude a aussi pour but de rendre accessibles à tous les résultats que nous avons obtenus. Nous avons numérisé et rassemblé toutes les traductions de l’Odyssée en langue française dans un format XML enrichi. Nous avons traité 26 traductions de l’Odyssée, dont 23 sont intégrales. Hormis les textes sous droits, tous les textes sont en libre accès sous cette forme. L’outil numérique que nous avons créé de toutes pièces n’est pas seulement un instrument destiné à faciliter le travail du chercheur : il permet de trouver des phénomènes qui sont indécelables à l’œil nu, et d’obtenir des résultats qui ne peuvent pas, même avec la plus grande rigueur, être obtenus par un humain. Nous voyons ainsi la double fonction de l’outil informatique, qui sert à la fois d’outil de vérification et de découverte. D’une part, l’outil informatique permet de rendre vérifiable les intuitions de la philologie qui sont opérationnalisées et parfois visualisables de manière pédagogique. D’autre part, des phénomènes inattendus peuvent être rendus visibles par les expériences, comme des inflexions que la longue durée ou la quantité de textes auraient masquées<br>This study goes through the whole of the French translations of Homer’s Odyssey from the Renaissance up to the XXth century. It is a further step in the study of the history of translations, based on a new technical and conceptual tool, using a wide range of new techniques in the field of Digital Humanities, which should help us enhance research about such a major text in Western civilization. Our hypothesis is to locate the turning point in the ways to translate Homer at the end of the XVIIIth century in France, with progress made in archeology and philology, a hypothesis that has been verified throughout this study, thanks to the software we made. We have studied both the history of the translations of the Odyssey and a wider history, that is to say, history of translations in general. Our study also aimed at giving access to the wider public to the results we got. We digitized and gathered all the French translations of the Odyssey in an enriched XML format. We have dealt with 26 translations, within which 23 are complete. Except for copyrighted texts, all our texts are open source. The digital tool we made does not only exist to ease the scientific work, but it also allows us to see new phenomena that would be impossible to spot with a human eye, and obtain results that cannot, even with rigorous expertise, be obtained by a human. We see there the double function of a digital tool that can both confirm and help discover. Firstly, the tool can allow us to confirm philological intuitions that can be operationalized and visualized in pedagogical way. On the other hand, unexpected phenomena can be found and visualized, such as changes that might have been hidden due to the wide period studied or the quantity of texts analyzed
47
Bois, Marine. "Lucien, nouvel Ulysse ? : fonctions et enjeux d'un personnage homérique dans l'oeuvre de Lucien de Samosate." Thesis, Dijon, 2015. http://www.theses.fr/2015DIJOL012/document.
Full textAbstract:
L’objet de notre thèse, qui s’inscrit dans une réflexion sur le processus de la réécriture des textes classiques à l’époque de la seconde sophistique, est d’étudier le rôle singulier que joue Ulysse dans l’œuvre de Lucien de Samosate. Ulysse se distingue d’abord d’Achille, personnage plus monolithique qui, chez Homère déjà, est construit en opposition avec lui. Par ailleurs, de la citation isolée aux allusions croisées, disséminées au point de créer de véritables échos entre des œuvres en apparence très différentes, il apparaît que l’utilisation qui est faite d’Ulysse est beaucoup plus élaborée et subtile que celle d’Achille. Ainsi l’examen et la comparaison des références aux deux personnages permettent d’établir la primauté d’Ulysse, associé, chez Lucien, à une réflexion fondamentale sur la force des mots et leur pouvoir de séduction, ainsi que sur l’importance de l’esprit critique en toutes circonstances. Un deuxième temps est consacré à la lecture plus minutieuse des œuvres où prévaut le processus d’exploration et que la référence au personnage d’Ulysse, voyageur inventif par excellence, permet en fait de structurer. Grâce à cet examen, il est possible de mieux comprendre à quel point Lucien s’approprie pleinement le personnage homérique pour en faire un autre de ses masques et proposer ainsi, tel un défi, un nouvel Ulysse à la postérité, tout en gardant ses distances avec le personnage. C’est aussi l’occasion de remarquer combien, progressivement, Lucien intègre les expressions ou le lexique épique au cœur même de son texte, pour aboutir à l’écriture d’une prose poétique qui lui appartient en propre. Il apparaît, en effet, au terme de cette étude que l’utilisation que Lucien fait d’Ulysse est directement liée à la question cruciale chez lui de son identité culturelle, dans un monde d’érudits exigeants, au sein duquel l’orateur syrien entend être reconnu<br>The aim of our thesis, which comes within the scope of considering the process of rewriting classic texts in the time period of the second sophistic, is to study the unique importance of Odysseus in the writings of Lucian of Samosata. At first, Odysseus is distinguished from Achilles, a character more monolithic who, even in Homer’s works is constructed in contrast to Odysseus. Moreover, from an isolated quote to intricate references, scattered to create echoes between works seemingly very different, the context in which Odysseus appears is more elaborate and subtler than that of Achilles. Hence, studying and comparing references to both heroes is sufficient to imply Odysseus’ primacy, associated, in Lucian’s works, to a fundamental consideration of the power of words and their appealing strength, as well as the importance of critical thinking in any circumstance. A second part is dedicated to a more detailed reading of the works in which prevail the theme of adventure and in which the references to Odysseus, the ultimate adventurer, become part of the whole structure. Thanks to this study, it is possible to understand further the degree to which Lucian takes over completely the Homeric character to transform him into one of his masks, offering a new Odysseus to the future, although he keeps his distances from the character. We can also note how Lucian integrates the epic set phrases and lexicon in the heart of his work, to end up with a poetic prose that belongs to him alone. In fact, it seems at the conclusion of this study that how Lucian uses Odysseus is interconnected with the crucial question for him, of his cultural identity in a world of demanding scholars within which the Syrian orator intends to be acknowledged
48
Ames, Keri Elizabeth. "The convergence of Homer's Odyssey and Joyce's Ulysses /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3088710.
Full text
49
Heitman, Richard Donald. "Taking her seriously : Penelope and the plot of Homer's Odyssey /." 2001. http://wwwlib.umi.com/dissertations/fullcit/3006505.
Full text
50
Shoichet, Jillian Grant. "Fighting words: hidden transcripts of resistance in the Babylonian Talmud, Homer's Odyssey and Maria Edgeworth's Castle Rackrent." Thesis, 2010. http://hdl.handle.net/1828/3316.
Full textAbstract:
The study proposes that oral-traditonnal cultures, or cultures with a high degree of orality, use similar processes to hide political or social subversion in text. To test this hypothesis, the author examines three texts from three highly oral cultures: a tractate of the Babylonian Talmud, Homer's Odyssey and Maria Edgeworth's Castle Rackrent. The author finds that in all three texts subversion is concealed according to what she defines as the three principles of disguise: articulation, by which a text hides secondary meaning through its use of diction and syntax; construction, by which a text incorporates hidden transcripts or meaning within its narrative or textual structure; and diversion, by which a text directs the audience away from subversive meaning by focusing attention on other elements. All three principles of disguise exploit the relationship between the written text and the oral-traditional environment in which the text was used.
The three-principle model of disguise enables us to set in comparative perspective relationships between the processes of communication and resistance in diverse cultures, and offers significant opportunities for comparative study. The author concludes that texts from diverse cultures may be employed similarly as extensions of oral tradition, especially when there is a need to conceal particular ideas from a dominant hegemony, and that reading these texts "against the grain" for evidence of subsurface subversion promises a deeper insight into both the function of text as a tool of resistance and the dynamics of human power relationships.<br>Graduate