Journal articles: 'Homer's Odyssey'

1

Frank, Bernhard. "Homer's ODYSSEY." Explicator 58, no. 4 (January 2000): 179–80. http://dx.doi.org/10.1080/00144940009597035.

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2

Donlan, Walter, Homer, and Harold Bloom. "Homer's the Odyssey." Classical World 84, no. 1 (1990): 73. http://dx.doi.org/10.2307/4350746.

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3

Rodger, Blake. "Unweaving Homer's Odyssey." Milton Quarterly 31, no. 4 (December 1997): 154–56. http://dx.doi.org/10.1111/j.1094-348x.1997.tb00503.x.

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4

Moses, Carole. "Homer's The Odyssey." Explicator 64, no. 3 (March 2006): 130–31. http://dx.doi.org/10.3200/expl.64.3.130-131.

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5

Mann, Rupert. "Seafaring Practice and Narratives in Homer's Odyssey." Antichthon 53 (2019): 1–13. http://dx.doi.org/10.1017/ann.2019.2.

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AbstractIt is intrinsically plausible that the Odyssey, which freely uses realistic details of many aspects of life on and beside the sea, was informed by real seafaring experience. This paper corroborates that hypothesis. The first part catalogues parallels between details of Odyssean and real-world seafaring. Odyssean type-scenes in particular echo real practice. The second part argues that three larger episodes have real-world parallels—the visit to the Lotos Eaters anticipates incidents of sailors deserting in friendly ports; the escape from Skylla and Charybdis demonstrates a safe course through a turbulent strait, and the encounter with Ino / Leukothea foreshadows the contemporary phenomenon of a sensed presence during a crisis. The pattern of coincidence between the Odyssey and the real world of seafaring constitutes a cumulative argument that suggests that those episodes in particular, and the poem as a whole, was informed by that world—a conclusion with consequences both for our understanding of the poem, and for our knowledge of the early Mediterranean maritime.

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6

Jones, P. V. "The past in Homer's Odyssey." Journal of Hellenic Studies 112 (November 1992): 74–90. http://dx.doi.org/10.2307/632153.

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The first section of this paper argues that Homer's description of the world of Ithaca as it existed before Odysseus ever left for Troy (henceforth ‘the pre-departure world’) is largely Homeric invention. The second section of the paper brings in the world of Ithaca during Odysseus' absence (henceforth ‘the intervening years’), which is also, for the most part, Homeric invention, and considers the literary function of this and the pre-departure world.At Poetics 1451a, Aristotle argues that Homer is superior to all other epic poets in his method of constructing an epic. The reason he gives is that Homer does not tell everything there is to tell about his subject, but centres his epic round a single action (μία πρᾶξις) and for the purpose of the telling selects only those incidents which make the other incidents ‘necessary or probable’ (cf. 1459a-b, where Aristotle gives examples of what he means from the Iliad).

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7

Waterhouse, Helen. "From Ithaca to the Odyssey." Annual of the British School at Athens 91 (November 1996): 301–17. http://dx.doi.org/10.1017/s0068245400016518.

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All references to Ithaca in ancient authors are in Homeric contexts. The BSA's excavations in the island, here summarized, have shown the importance throughout classical times of the shrines at Aëtos and Polis, indicated by the objects dedicated from many parts of the Greek world. Among these, the twelve tripod-lebetes found in the Polis Cave cannot be dissociated from the Phaeacian tripods given to Odysseus. It is suggested that the dedications preceded, and inspired, that part of the Odyssey, and that the importance of Odysseus in the Homeric poems reflects that of the cults at these shrines. Problems of transmission are considered, with a discussion of Homer's island geography and pre-colonial routes to the West.

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8

Dobbs, Darrell. "Reckless Rationalism and Heroic Reverence in Homer's Odyssey." American Political Science Review 81, no. 2 (June 1987): 491–508. http://dx.doi.org/10.2307/1961963.

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A decision-theoretic analysis of the central incident of Homer's Odyssey reveals the insufficiency of rational calculation as a guide for political prudence. Surprisingly, the poet distinguishes between two rational and formally identical calculations in no uncertain terms; he condemns one as utter recklessness and praises the other as consummate wisdom. I maintain that this discrepancy is neither an artifact of sloppy editorial patchwork nor the result of a “homeric nod” but instead points toward a politically significant distinction as yet obscured by a merely rationalistic perspective. The recklessness of Odysseus' crewmen, who deliberately slaughter sacred cattle to forestall starvation, consists in their rationalistic transgression of the limits of reason. These limits are most evident in the defiance of commensurability that characterizes the sacred. The wisdom of Odysseus, by contrast, is manifest in his learning to temper reason with respect for the sacred. By virtue of reverence, Odysseus wins his struggle to preserve his psychê, home and regime.

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9

Dobel, J. "Mortal Leadership in Homer's Odyssey." Public Integrity 8, no. 3 (June 1, 2006): 215–31. http://dx.doi.org/10.2753/pin1099-9922080303.

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10

Harris, Maxine. "Homer's odyssey: A psychological journey." American Journal of Psychoanalysis 46, no. 4 (December 1986): 289–99. http://dx.doi.org/10.1007/bf01250403.

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11

Cunha, LL, and LS Ward. "Homer's odyssey and Brazilian universities." Clinics 67, no. 11 (November 6, 2012): 1235. http://dx.doi.org/10.6061/clinics/2012(11)01.

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12

Rutherford, R. B. "The philosophy of the ODYSSEY." Journal of Hellenic Studies 106 (November 1986): 145–62. http://dx.doi.org/10.2307/629649.

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The ancient critics are well known—some might say notorious—for their readiness to read literature, and particularly Homer, through moral spectacles. Their interpretations of Homeric epic are philosophical, not only in the more limited sense that they identified specific doctrines in the speeches of Homer's characters, making the poet or his heroes spokesmen for the views of Plato or Epicurus, but also in a wider sense: the critics demand from Homer not merely entertainment but enlightenment on moral and religious questions, on good and evil, on this life and the after-life. When they fail to find what they seek, they follow Plato and find him wanting.

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13

Goldhill, Simon. "Reading Differences: The Odyssey and Juxtaposition." Ramus 17, no. 1 (1988): 1–31. http://dx.doi.org/10.1017/s0048671x00003179.

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This article comprises a discussion of four separate passages in Homer and some of the critical problems which each involves. My intention is not to produce a blueprint or set of rules for the interpretation of Homer, but rather — a more limited aim — to increase attention to the complex texture of the poetry of the Odyssey, and to the need for a critical practice alive to such complexity. The four passages are the speech of Amphimedon's ghost; the recognition scene between Odysseus and Argus; the story telling of Menelaus and Helen; and, finally, Odysseus' first speech to Nausicaa. Each passage opens questions about how Homer is read, and, in particular, about how what is often referred to as Homer's juxtapositional technique interrelates with the role of the reader in the activity of interpretation.

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14

Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 68, no. 2 (September 8, 2021): 348–52. http://dx.doi.org/10.1017/s0017383521000140.

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From Oxford University Press's ‘Classical Presences’ series, Carol Dougherty's Travel and Home in Homer's Odyssey and Contemporary Literature places Homer's Odyssey in dialogue with five twentieth- and twenty-first-century novels which all deal in some way with the ideas of home or travel. The author focuses on novels which, on the whole, do not respond overtly to the Odyssey, but which instead share key themes – such as transience, reunion, nostalgia, or family relationships – with the Homeric poem. The conversations which she initiates between the ancient epic and the modern novels inspire us to rethink previously held assumptions about the Odyssey. For example, Dougherty's exploration of Rebecca West's The Return of the Soldier (1918), in which a veteran returns from the First World War with no memory of his wife, prompts her reader to consider Odysseus’ stay with Calypso as ‘a kind of nostalgic amnesia, a necessary break that enables rather than an obstacle that impedes his return’ (111). As ‘an experiment in improvisatory criticism’ (16), this book yields rich rewards for the reader who is already familiar with the Odyssey, as well as for those whose point of entry is one of the five modern novels. The framework applied – in which each chapter presents a reading of a relevant section of the Odyssey before setting out an analysis of the contemporary novel with which it is paired – is perhaps more familiar from comparative literary studies than from classical reception scholarship, yet Dougherty's approach is one which stimulates fresh thought about how we as readers (re-)interpret and ‘receive’ ancient texts based on the contexts in which we encounter them.

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15

Biles, Zachary. "Perils of Song in Homer's "Odyssey"." Phoenix 57, no. 3/4 (2003): 191. http://dx.doi.org/10.2307/3648513.

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16

MacDonald, Dennis R. "Homer's Odyssey and the Near East." Biblical Interpretation 20, no. 4-5 (October 1, 2012): 491–93. http://dx.doi.org/10.1163/156851512x618678.

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17

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

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

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18

Lyne, R. O. A. M. "Vergil's Aeneid: Subversion by Intertextuality Catullus 66.39–40 and Other Examples." Greece and Rome 41, no. 2 (October 1994): 187–204. http://dx.doi.org/10.1017/s0017383500023408.

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I think we have to accept that the term intertextuality serves a purpose. One of the terms it allows us to dispense with, allusion, has its disadvantages.Up until recently I was happy with ‘allusion’: Vergil ‘alludes’ to Homer. The term was time-honoured, and, surely, unproblematical. Unproblematical, and not, so far as it went, and in the right hands, unsubtle. One meant that Vergil was not just using his source text (or his significant source text) as raw material. The source text became part of the new text, its characters and context were relevant to the new text. Thus, when in his opening speech Aeneas ‘quotes’ Homer's Odysseus, we sense that Vergil is casting Aeneas as a new Odysseus, comparing him and contrasting him with Odysseus, in a new Odyssey. And so the Aeneid proceeds: an allusive text, constantly alluding to Homer, re-forming Homer, remaking the Homeric characters, re-forming other texts in the same significant way … What texts? What texts does it not significantly re-form?

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19

Olson, S. Douglas. "The Stories of Agamemnon in Homer's Odyssey." Transactions of the American Philological Association (1974-) 120 (1990): 57. http://dx.doi.org/10.2307/283978.

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20

Berg, Constance Demuth. "Letter from Cullercoats: Retracing Homer's English Odyssey." American Art 6, no. 3 (July 1992): 92–99. http://dx.doi.org/10.1086/424162.

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21

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

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

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22

Carries, Jeffrey S. "With Friends Like These: Understanding the Mythic Background of Homer's Phaiakians." Ramus 22, no. 2 (1993): 103–15. http://dx.doi.org/10.1017/s0048671x00002460.

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The Phaiakians' reception of Odysseus has long puzzled readers of the Odyssey; so, too, has the nature of life on Skheria. The view of Skheria as an untroubled, remote paradise has attracted many modern critics, yet recent scholarship has noted the Phaiakians' unfriendliness and the potential threat they pose to Odysseus. It seems, in fact, that Homer's narrative contains elements which are overtly contradictory: the Phaiakians are simultaneously friendly and hostile; they are able to traverse the sea without effort, while yet living in a hermetically closed society. These narrative contradictions are not mere illusions, the result of scholarly difference of opinion, but instead reflect a genuinely divided mythic reality. To understand the Phaiakians we should continue along the path marked out by Vidal-Naquet, Clay and Most, and examine not only the narrative but also the mythic elements of the Phaiakis.

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23

Buzzetti, Eric. "Plato Through Homer: Poetry and Philosophy in the Cosmological Dialogues." Canadian Journal of Political Science 37, no. 3 (September 2004): 775–77. http://dx.doi.org/10.1017/s0008423904420101.

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Plato Through Homer: Poetry and Philosophy in the Cosmological Dialogues, Zdravko Planinc, Columbia: University of Missouri Press, 2003, pp. xii, 134Professor Planinc analyzes in this monograph three of Plato's dialogues: the Timaeus, the Critias and the Phaedrus. His primary aim is to show that their structure and poetic imagery is modelled after that of important episodes of Homer's Odyssey. In Planinc's words, Plato consciously “refigures” the “literary tropes” of the Odyssey, and this fact is of central importance to interpreting these dialogues properly (13).

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24

Rees, William. "Home or Away: Homecoming, Glory, and the Good Death in Homer's Odyssey." CounterText 6, no. 1 (April 2020): 102–15. http://dx.doi.org/10.3366/count.2020.0184.

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This article examines the overlapping themes of the good death ( euthanasia), glory ( kleos), and homecoming ( nostos) as they are deployed in Homer's Odyssey. On both a thematic and a structural level, I argue that the text stages a confrontation between homecoming and glory – between death at home and death in battle – and that this tension is a sustaining force throughout the text. In contrast to the received interpretation that sees the Odyssey as a straightforward tale of nostalgia, I argue that in Homer's epic the relation to homecoming turns out to be surprising and complex – an event that is at once painfully desired and perpetually deferred.

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25

Holoka, James P., and Kevin Crotty. "The Poetics of Supplication: Homer's "Iliad" and "Odyssey"." Classical World 92, no. 3 (1999): 299. http://dx.doi.org/10.2307/4352272.

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26

Friedrich, Paul. "An Avian and Aphrodisian Reading of Homer's Odyssey." American Anthropologist 99, no. 2 (June 1997): 306–20. http://dx.doi.org/10.1525/aa.1997.99.2.306.

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27

Frank, Bernhard. "Homer's the Odyssey, Book 17, Lines 291–327." Explicator 51, no. 4 (July 1993): 202–3. http://dx.doi.org/10.1080/00144940.1993.9938026.

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28

Nguyen, Viet Hung. "ARTISTS CHANTING - NARRATING EPIC POEMS PROFESSIONAL OR UNPROFESSIONAL?" UED Journal of Social Sciences, Humanities and Education 10, Special (September 27, 2020): 62–69. http://dx.doi.org/10.47393/jshe.v10ispecial.881.

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

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29

Leventhal, Max. "COUNTING ON EPIC: MATHEMATICAL POETRY AND HOMERIC EPIC IN ARCHIMEDES' CATTLE PROBLEM." Ramus 44, no. 1-2 (November 27, 2015): 200–221. http://dx.doi.org/10.1017/rmu.2015.10.

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In 1773, the celebrated enlightenment thinker G.E. Lessing discovered in Wolfenbüttel's Herzog August Library a manuscript which contained a previously unknown Ancient Greek poem. The manuscript identified the author as Archimedes (c.287-212 BCE), and the work became known as the Cattle Problem (henceforth CP). On the surface, its twenty-two couplets capitalise on Homer's depiction of the ‘Cattle of the Sun’ in Book 12 of the Odyssey and its numerical aspect. A description of the related proportions of black, white, brown and dappled herds of cattle, which are then configured geometrically on Sicily, creates a strikingly colourful image. The author's decision to encode a number into the figure of the Cattle of the Sun styles the poem as a response to, and expansion of, Homer's scene. Reading through the work, though, it becomes clear that the mathematics is more complex than that of Homer's Odyssey.

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30

Grafstein, Robert, and Darrell Dobbs. "Rationalism or Revelation?" American Political Science Review 82, no. 2 (June 1988): 579–87. http://dx.doi.org/10.2307/1957402.

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Are there appropriate limits to the application of rational choice in political decision making? Does rationalism in politics lead to absolutism? Is there a “pressing threat” to liberal democracy “posed by the irreverent conviction of the hegemony of reason”? In the June 1987 issue of this Review, Darrell Dobbs drew lesson from Homer's epic poem, the Odyssey, to argue the limits of rationalism in politics. In this Controversy, Robert Crafstein argues that Dobbs's case against rationalism is not proved. In turn, Dobbs holds to his construction of the relevance of Odysseus' nod to sacred values.

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31

Holoka, James P., and Beth Cohen. "The Distaff Side: Representing the Female in Homer's "Odyssey"." Classical World 90, no. 6 (1997): 448. http://dx.doi.org/10.2307/4352006.

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32

Lowenstam, Steven, and S. Douglas Olson. "Blood and Iron, Stories and Storytelling in Homer's "Odyssey"." Classical World 90, no. 6 (1997): 454. http://dx.doi.org/10.2307/4352013.

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33

Edwards, Anthony T. "Homer's Ethical Geography: Country and City in the Odyssey." Transactions of the American Philological Association (1974-) 123 (1993): 27. http://dx.doi.org/10.2307/284323.

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34

Fine, Sallie M. "Bringing Homer's "Odyssey" up to Date: An Alternative Assessment." English Journal 86, no. 1 (January 1997): 65. http://dx.doi.org/10.2307/820784.

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35

Martyniuk, Irene. "Playing With Europe: Derek Walcott's Retelling of Homer's Odyssey." Callaloo 28, no. 1 (2005): 188–99. http://dx.doi.org/10.1353/cal.2005.0027.

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36

Nassaar, Christopher S. "The Tithonos Myth in Homer's ODYSSEY and Virgil's AENEID." Explicator 68, no. 3 (July 12, 2010): 149–50. http://dx.doi.org/10.1080/00144940.2010.499073.

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37

Stathopoulos, Panagiotis, Ghaly Adly Ghaly, and Afroditi Azari. "Injuries to the head and neck in Homer's Odyssey." British Journal of Oral and Maxillofacial Surgery 54, no. 6 (July 2016): 717–18. http://dx.doi.org/10.1016/j.bjoms.2015.10.018.

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38

Ghaly, Ghaly, Panagiotis Stathopoulos, and Afroditi Azari. "Injuries to the head and neck in Homer's Odyssey." British Journal of Oral and Maxillofacial Surgery 54, no. 10 (December 2016): e118-e119. http://dx.doi.org/10.1016/j.bjoms.2016.11.151.

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39

Brammall, Sheldon. "George Chapman: Homer's Iliad, edited by Robert S. Miola; Homer's Odyssey, edited by Gordon Kendal." Translation and Literature 27, no. 2 (July 2018): 223–31. http://dx.doi.org/10.3366/tal.2018.0339.

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40

Lateiner, Donald. "Reviews of Books:The Raft of Odysseus: The Ethnographic Imagination of Homer's Odyssey Carol Dougherty." American Historical Review 108, no. 2 (April 2003): 556–57. http://dx.doi.org/10.1086/533331.

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41

Sinos, Dale, Joseph Russo, and Alfred Heubeck. "A Commentary of Homer's "Odyssey", Vol. III. Books XVII-XXIV." Classical World 88, no. 2 (1994): 137. http://dx.doi.org/10.2307/4351661.

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42

Olson, S. Douglas, Homer, Alfred Heubeck, and Arie Hoekstra. "A Commentary on Homer's Odyssey, Vol. II, Books IX-XVI." Classical World 84, no. 1 (1990): 69. http://dx.doi.org/10.2307/4350741.

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43

Grosheva, A. "Epithets of Hermes in Homer's epic poems «Iliad» and «Odyssey»." Indo-European linguistics and classical philology XXII (June 7, 2018): 379–90. http://dx.doi.org/10.30842/ielcp230690152231.

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44

Emlyn-Jones, C. "Note. Blood and iron. Stories and storytelling in Homer's Odyssey." Classical Review 46, no. 2 (February 1, 1996): 366–67. http://dx.doi.org/10.1093/cr/46.2.366-a.

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45

Mercier, Charles E. "The Poetics of Supplication: Homer's "Iliad" and "Odyssey". Kevin Crotty." Classical Philology 93, no. 2 (April 1998): 192–96. http://dx.doi.org/10.1086/449386.

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46

Rutherford, Richard. "III - The Odyssey." New Surveys in the Classics 41 (2011): 76–102. http://dx.doi.org/10.1017/s001738351200040x.

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Although it is theoretically possible (and has been asserted) that the Iliad followed the Odyssey, or that the two poems were composed quite independently, with no influence from one to the other, majority opinion ancient and modern puts the Odyssey later, and assumes it to be in important respects a successor, even a sequel, to the Iliad. This position can be maintained in two main forms: those who believe in a single master-poet as the creator of both epics may assign the Iliad to Homer's youth, the Odyssey to his riper years (a position memorably expressed by Longinus); those who follow the ancient separatists can regard the Odyssey as a rival work, composed by a poet who immensely admired the Iliad but whose own poetic and moral concerns lay elsewhere. This view is now much more common. It may be difficult, however, in a tradition which involved so much use of conventional themes and formulaic material, to decide firmly in favour of common or separate authorship. Whichever view one prefers, the important point seems to be that the Odyssey is later, and that it is conceived as a poem on the same scale as the Iliad, but differing strikingly in content and ethos.

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47

Mordine, Michael. "Odyssean Adventures in the Cena Trimalchionis." Classical Antiquity 32, no. 1 (April 1, 2013): 176–99. http://dx.doi.org/10.1525/ca.2013.32.1.176.

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The Satyricon as a whole has long been recognized as deeply indebted to the Odyssey, both in its individual episodes and as an adventure narrative, and perhaps even as an extended parody of Homer's poem. However, the longest extant episode of the Satyricon, the Cena Trimalchionis, has traditionally been thought to contain only glancing references to the Odyssey. This article demonstrates the importance of the Odyssey as a primary intertext for the Cena Trimalchionis. While Plato's Symposium and Horace's Satire 2.8 are recognized influences on the Cena, Odysseus's visit to the Phaeacians and the account he gives there of his adventures are even more systematically and repeatedly alluded to, evoked, and reworked in the Cena. Petronius appropriates episodes from the adventures of Odysseus from his arrival on Scheria to his encounters with the Lotus-Eaters, Circe, Scylla and Charybdis, the Sirens, and the Cyclops. These and other episodes are transmuted and incorporated into the world and experience of Trimalchio's dinner party in a variety of ways: as clever extended allusions, as epic reworked in folktale form, as contemporary events occurring in the midst of Trimalchio's dinner party. What emerges from this discussion is the recognition that the Cena Trimalchionis is much more integrated into the overall narrative and thematics of the rest of the Satyricon than heretofore appreciated.

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48

Vlahos, John B. "Homer's Odyssey: Penelope and The Case for Early Recognition." College Literature 38, no. 2 (2011): 1–75. http://dx.doi.org/10.1353/lit.2011.0012.

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49

Williams, Meg Harris. "CONVERSATIONS WITH INTERNAL OBJECTS: FAMILY AND NARRATIVE STRUCTURE IN HOMER'S ODYSSEY." British Journal of Psychotherapy 20, no. 2 (December 2003): 219–35. http://dx.doi.org/10.1111/j.1752-0118.2003.tb00136.x.

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50

Richardson, N. "Review. The poetics of supplication: Homer's Iliad and Odyssey. K Crotty." Classical Review 47, no. 1 (January 1, 1997): 8–9. http://dx.doi.org/10.1093/cr/47.1.8.

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Journal articles on the topic 'Homer's Odyssey'

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