Relevant bibliographies by topics / Ilias (Homerus)

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Academic literature on the topic 'Ilias (Homerus)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Ilias (Homerus)"

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van den Berg, Baukje. "Eustathius over de Homerische goden, de plausibiliteit van de Ilias en de deskundigheid van Homerus." Lampas 51, no. 1 (2018): 43–60. http://dx.doi.org/10.5117/lam2018.1.004.berg.

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Summary This article Dit artikel is geschreven als onderdeel van een project gefinancierd door het National Science Center, Polen (UMO-2013/10/E/HS2/00170). Ik dank Niels Koopman voor zijn commentaar. explores the role of the gods in the Iliad as analysed by Eustathius of Thessaloniki in his Commentary on the Iliad. Eustathius aims to identify the principles and techniques that underlie Homer’s successful composition and to reconstruct, as it were, Homer’s composition process. In this way, he intends to familiarise his target audience, twelfth-century authors of rhetorical prose, with Homer’s admirable methods so that they can imitate them in their own writings. Eustathius interprets the gods as devices in the hands of the poet to steer his composition in the desired direction, to imbue it with rhetorical plausibility, and to foreground his skilfulness. Homer uses the gods in four ways: 1) by means of divine interventions, Homer maintains plausibility whenever he takes risks for the sake of rhetorical virtuosity; 2) the poet employs divine plans to motivate the course of events; 3) as allegories of the poet’s intellectual capacities the gods reveal authorial deliberations about the course of the Iliad; 4) the composition of the Iliad is partly determined by the meaning of the gods in terms of natural and ethical allegory. Eustathius thus presents Homer as a self-conscious author and shapes him, we may assume, in the image of the ideal Byzantine author, or perhaps that of himself.
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Ferdous, Mafruha. "Reading Homer’s The Iliad in 21st Century." Advances in Language and Literary Studies 8, no. 2 (2017): 101. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.101.

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Homer's Iliad refers to an epic story written by the ancient Greek poet Homer, which makes an account of the most significant events that earmarked the very last days which defined the Trojan War and the Greek siege of the city of Troy. Troy was also known as Ilium, Ilion, or Ilois in the past. Having made to center around the events of the Trojan War, Homer’s Iliad is a work of art that paints to all of us interested in literature, what really happened in the past. The paper purposes to provide invaluable insights regarding the significance of Homer’s Iliad today and what it teaches us about poetry and the ancient culture of the Greeks.
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Nguyen, Viet Hung. "ARTISTS CHANTING - NARRATING EPIC POEMS PROFESSIONAL OR UNPROFESSIONAL?" UED Journal of Social Sciences, Humanities and Education 10, Special (2020): 62–69. http://dx.doi.org/10.47393/jshe.v10ispecial.881.

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Homer’s creative works Iliad, Odyssey have undergone a history of thousands of years, but the Homeric issues have never ceased to be new to generations of researchers. There still remain unanswered questions: Was Homer a professional writer or a folk artist? Did his epical compositions belong to the written or oral literary genre? Were Homer's poems the works of a single poet or of many contributors? We refer to Homer as an artist, a collector and compiler of Greek epics in relation to the type of epic artists in Vietnam. A study of the artists chanting-narrating epic poems from various perspectives: society - profession (professional or amateur?), mode of artistic creation (folk or scholarly?), the relationship between performance and context (ritualistic or non-ritualistic?) ... will clarify the characteristics of the artists chanting - narrating epic poems and the nature of the artistic creation process, and probably put forward suggestions for the preservation of the epic repertoire of ethnic groups.
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Alexander, Caroline. "On Translating Homer's Iliad." Daedalus 145, no. 2 (2016): 50–58. http://dx.doi.org/10.1162/daed_a_00375.

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This reflective essay explores the considerations facing a translator of Homer's work; in particular, the considerations famously detailed by the Victorian poet and critic Matthew Arnold, which remain the gold standard by which any Homeric translation is measured today. I attempt to walk the reader through the process of rendering a modern translation in accordance with Arnold's principles.
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Fisher, R. K. "The Concept of Miracle in Homer." Antichthon 29 (1995): 1–14. http://dx.doi.org/10.1017/s0066477400000903.

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My aim is to establish whether there is a concept of ‘miracle’ or ‘the miraculous’ implicit in the Homeric poems (and therefore perceived and understood by Homer's audience). Such a question is fraught with difficulties, as it necessarily involves broader (and still widely debated) issues such as Homeric man's view of the gods and the essential nature of the early Greek oral epic tradition. But, if an answer can be found, it should in the process help us to gain more insight into those wider issues—the theological basis of the Iliad and the Odyssey, and the world-view of Homer's audience.
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Sapozhkov, Sergey V. "Nikolai Minsky as a Researcher and Translator of Homer: The History of the Soviet Edition of the Iliad (GIKHL, 1935) and Accompanying Materials to It." Literary Fact, no. 32 (2024): 8–51. http://dx.doi.org/10.22455/2541-8297-2024-32-8-51.

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The information for this publication comes from archival documents from the fund of A.V. Lunacharsky (Russian State Archive of Socio-Political History, Moscow). These documents were prepared by N.M. Minsky (1855/1856–1937) as accompanying materials for the publication of his own (fifth) translation of the Iliad in the Soviet State Publishing House (Gosizdat). Minsky had sent these materials to Lunacharsky in 1929. The materials comprise four parts: 1) the history of the “Homeric question”; 2) the idea of the Iliad; 3) the translation of the Iliad; and 4) the latest foreign literature on the Homeric question. However, due to ideological reasons, Gosizdat banned the publication of these materials. In the “Literary Fact,” they are published and commented on for the first time. Minsky’s materials lack a strictly historical understanding of the Iliad. He searches for meanings relevant to man fin de siècle in Homer’s poem. In his early article “The Idea of the Iliad” (1896), Minsky interprets the image of Achilles in the spirit of the cult of the “superman” by F. Nietzsche. However, the horrors of the First World War convinced Minsky of the insolvency of this cult, which was reflected in the “modern mystery” “Faces of War” (1815). In the accompanying materials of 1929, Minsky emphasizes the Iliad’s humanistic pathos. He appreciates the ability of Homer’s characters to be compassionate and merciful. By 1929, Minsky’s understanding of the idea of the Iliad had changed significantly. In his opinion, the Iliad is a poem in which “Greece forever dissociated itself from barbarism and took the first step towards the future union of all mankind.”
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Heidari, Ali, and Nozar Niazi. "Parallelizing Rostam and Sohrab with Achilles and Hector in Matthew Arnold’s Poem “Sohrab and Rustum”." Review of European Studies 10, no. 1 (2017): 7. http://dx.doi.org/10.5539/res.v10n1p7.

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In translating “Rostam and Sohrab”, one of the most delightful stories in Shahnameh, Matthew Arnold did not stay true to Ferdowsi’s version. Instead, he opted to veer more into Homer’s The Iliad. The Homeric atmosphere hovering over the poem is exactly one of the factors that made Arnold’s poem universally famous. One of the scenes that Arnold intentionally, and most cleverly, copied in his rendition of Rostam and Sohrab was the battle between the Greek hero Achilles and the Trojan hero Hector, which he depicted under the heavy influence of Homer’s The Iliad. The present article is an attempt to demonstrate this parallelization which can be found in the overall framework of Arnold’s poem, especially in the battles between Rustum and Sohrab with that of Achilles and Hector.
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Riddiford, Alexander. "Homer's Iliad and the Meghanādbadha Kābya of Michael Madhusūdan Datta." Bulletin of the School of Oriental and African Studies 72, no. 2 (2009): 335–56. http://dx.doi.org/10.1017/s0041977x09000548.

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AbstractThe debt owed to Homer's Iliad by the Meghanādbadha Kābya (1861), Michael Madhusūdan Datta's Bengali epic and masterpiece, has long been recognized but has never been examined with any close or academically sensitive reference to the Greek poem. This study sets out to examine the use of the Homeric epic as a model for the Bengali poem, with particular regard to character correspondences, the figure of the simile and narrative structure. In addition to this close analysis, Datta's response to the Iliad will be set in the context of contemporary (and earlier) British receptions of the Homeric poem: the Bengali poet's reading of the Greek epic, far from being idiosyncratic (“colonial”), in fact bears the marks of a close engagement with contemporary British appreciation of the poem.
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Piasecki, Dariusz. "Eucharystia u Homera?" Vox Patrum 69 (December 16, 2018): 561–72. http://dx.doi.org/10.31743/vp.3275.

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The article attempts to answer the question: is it possible to represent the Last Supper of Jesus and His Apostles by means of verses selected from Homer’s Iliad and the Odyssey. The Homeric Cento no. 40, which emphasizes the community of Christ’s table with His disciples, has been a subject of my analysis. The specific selection of Homeric verses, with some minor modifications, allowed the centonist to construct a new text with a completely different context and content, reflecting both the reality of the Upper Room and the establishment of the Eucharist by Jesus.
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Pollard, Alison. "Gladiators and circus horses in the Iliad frieze in Pompeii's Casa di D. Octavius Quartio?" Journal of Roman Archaeology 31 (2018): 285–302. http://dx.doi.org/10.1017/s1047759418001332.

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The only three surviving frescoes from the Roman world to depict a series of episodes from Homer's Iliad in continuous frieze format are all found on a single street in Pompeii. They were published in 1953 in V. Spinazzola's Pompei alla luce degli scavi nuovi di Via dell’Abbondanza (anni 1910-1923), vol. 2, under the editorship of S. Aurigemma, whose detailed descriptions and interpretation of the iconography and epigraphy have remained largely unchallenged. Relatively poorly preserved, they exhibit a puzzling interplay between their iconography, epigraphy and the Homeric text, and even the chronology of the epic itself. Each of the Iliad friezes, like the Odyssey frescoes in the Vatican Museums, in parts reflect close adherence to the text of their respective epics, yet each contains details which do not derive from the Homeric account: some alter it in subtle ways, noticeable only to those who know their Homer well, but there are also extra-Homeric figural scenes and painted epigraphy in the form of labels which, although traditionally considered to be errors made by an ill-educated artist or even evidence of the use of hypotheses of the Iliad and Odyssey, must derive from some external source. This paper seeks to show that in the Iliad frieze of the Casa di D. Octavius Quartio it may be possible to establish the source of the extra-Homeric insertions: the details appear to refer not only to the erudite realm of Homeric epic, but also to the thrill and violence of contemporary arenas.
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Dissertations / Theses on the topic "Ilias (Homerus)"

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

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PLEBANI, FRANCESCO. "George Pachymeres' scholia to Homer's Iliad (books VI-VII)." Doctoral thesis, Università degli studi di Genova, 2018. http://hdl.handle.net/11567/932950.

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Hernandes, Thárea Raizza [UNESP]. "Homens e deuses na Ilíada: ação e responsabilidade no mundo homérico." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/93857.

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Made available in DSpace on 2014-06-11T19:26:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-13Bitstream added on 2014-06-13T20:09:04Z : No. of bitstreams: 1 hernandes_tr_me_arafcl.pdf: 948923 bytes, checksum: dcb434958bfe35ba2148730da2124da7 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Este trabalho analisa a relação entre o humano e o divino no âmbito das ações realizadas pelos homens e a responsabilidade que eles teriam ou não sobre elas, na Ilíada. Para tanto, verifica a concepção de homem em Homero, buscando mostrar o homem como unidade capaz de realizar ações e analisa a concepção divina associada às ideias de vontade de Zeus e de Destino, que afetariam a noção de responsabilidade na ação humana. Portanto, desejamos mostrar que as decisões próprias do homem não alteram o curso dos acontecimentos, uma vez que, na Ilíada, deparamos com a mentalidade mítica na qual divindade e homem se completam através de oposições<br>This study analyzes the relationship between the human and the divine in the context of the actions carried out by men, and the responsibility that they would have on them or not, in the Iliad. To do so, it verifies the conception of man in Homer, trying to show the man as a unit capable of performing actions and analyzes the divine conception associated with the ideas of will of Zeus and Destiny, which would affect the notion of responsibility in the human action. Therefore, we wish to show that the man's own decisions do not change the sequences of events, once, in the Iliad, we faced with the mythical mentality in which divinity and man complete each other through opposition
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Csajkas, Peter Homer. "Die singulären Iterata der Ilias Bücher 11-15 /." München : Saur, 2002. http://catalog.hathitrust.org/api/volumes/oclc/49730920.html.

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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.

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

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Pillot, William. "Ilion en Troade, de la colonisation éolienne au Haut Empire romain." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040146.

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La petite cité grecque d’Ilion offre un exemple original d’identité civique complexe mêlant éléments grecs et « barbares » (i. e. non grecs) grâce à l’utilisation des différents mythes liés à la guerre de Troie. Cette construction identitaire mythique s’enracine dans un site particulièrement riche où les différents niveaux archéologiques se superposent et s’enchevêtrent de l’âge du Bronze à l’époque romaine (Troie I à IX). Elle est aussi nourrie de diverses influences, anatoliennes et égéennes, particulièrement sensibles dans le cas d’Ilion car cette cité, située au bord de l’Hellespont, se trouve en situation de carrefour géopolitique et culturel entre Europe et Asie. Le sanctuaire d’Athéna Ilias joue un rôle central dans l’identité, les mythes et l’histoire de la cité. Mais ce sanctuaire est aussi le centre d’une association religieuse regroupant plusieurs autres cités, principalement de Troade mais aussi d’au-delà, comme Myrléa en Propontide et même Chalcédoine sur le Bosphore, qui administrent en commun le sanctuaire et participent à des panégyries et des concours sacrés en l’honneur de cette divinité à la fois civique et fédérale. L’autre principal lieu de culte d’Ilion, le « Sanctuaire Ouest », témoigne lui aussi d’influences à la fois européennes et asiatiques<br>This PhD thesis intends to offer a synthesis concerning the Greek city-State of Ilion. This city-State offers an original example of a complex civic identity which mixes Greek and “barbaric” (i.e. non-Greek) elements through the use of different myths relating to the Trojan war. This mythical construction of identity is rooted in a particularly rich site where the various archaeological levels are superimposed and tangled together, from the Bronze age to the Roman period (Troy I to IX), as evidenced by H. Schliemann, the inventor of the site, which is still nowadays being excavated by German and American teams. Ilion’s identity is also fueled by various influences, Anatolian and Aegean, that are particularly sensitive because of the fact that the city is located at a geopolitical and cultural crossroad between Europe and Asia. The sanctuaries of Ilion play a central role in the identity, the myths and the history of the city, especially the sanctuary of Athena Ilias. It is the centre of a religious association (koinon) which regroups several other cities, from Troad and even beyond, who administer the sanctuary together and participate in festivals and sacred games in honor of this divinity that is both civic and federal. The second main cult site of Ilion, called “West Sanctuary”, is also a testimony of European and Asian influences
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Poulengeris, Andreas Christou. "Studies on the text of Iliad 3-5." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271299.

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In these studies I discuss a number of selected passages from Iliad 3-5 where there are textual variations supported by extant minuscule copies and about which we can reasonably argue that they also existed in the text of uncial COpIes. The purpose of these discussions is to assert the claim of each variant to direct tradition, i.e. that their presence in the medieval minuscule tradition is due to inheritance from the text of extant or lost uncial copies, or, to use an abbreviated term, that they are ancient; and also to assert its utility for the evaluation or classification of the manuscripts which attest it, i. e. to identify the manuscripts which are the rightful heirs of such a variant through early lost minuscules, as well as to identify closely related groups of manuscripts. I have limited myself to a selection of the older manuscripts and attempted to discover by analysis which of these manuscripts are the most useful in preserving ancient variants. This approach differs from Allen's, who in the case of his edition of 1931 uses some 180 manuscripts and in the case of the Oxford Classical Text of 1920 mainly manuscript families on the strength of numerical agreements in various readings, resulting in a most unsatisfactory state of affairs in both cases. In the second part I provide a collation of the chosen manuscripts for Iliad 18, to demonstrate how reliable or unreliable Allen's collations are. I also provide an apparatus criticus for the same book which is not meant to serve the ordinary purpose of an apparatus criticus (no notice is taken of papyri, quotations, or modem conjectures), but only to show what the manuscript picture looks like, on the evidence of my collation for the variants judged worthy of mention in the Oxford Classical Text
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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.

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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.
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Stickley, Patrick R. "Grief in the Iliad." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/205.

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This paper addresses the causes and effects of grief within Homer's Iliad. In addition, this paper argues that error, both committed and suffered, is the primary cause of grief, and that grief is particularly transformative in regard to Achilles, both in his motivations and his physicality.
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Books on the topic "Ilias (Homerus)"

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Baricco, Alessandro. De Ilias van Homerus. De Geus, 2006.

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Wilamowitz-Moellendorff, Ulrich von. Homers Ilias: Vorlesung WS 1887/1888 Gottingen. G. Olms, 2006.

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Homer. Homer Iliad, book VI. Cambridge University Press, 2010.

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Homer. Ilias. Ekdoseis Agra, 2009.

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Homer. Ilias. Insel Verlag, 1997.

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

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Homer. Ilias. Ekdoseis Agra, 2009.

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

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Homer. Homeri Ilias. G. Olms, 1996.

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Vasilaros, Geōrgios. Der Gebrauch des Genetivus Absolutus bei Apollonios Rhodios im Verhältnis zu Homer. Nationale und Capodistrianische Universität Athen, Philosophische Fakultät, 1993.

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Book chapters on the topic "Ilias (Homerus)"

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Joerden, Klaus. "Homer: Ilias." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7752-1.

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Wißmann, Jessica. "Homer, Ilias." In Motivation und Schmähung. J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-04284-2_2.

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Marneros, Andreas. "Geflügelte Vorworte." In Homers Ilias psychologisch erzählt. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-11202-8_1.

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Marneros, Andreas. "Die Macht der Macht." In Homers Ilias psychologisch erzählt. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-11202-8_10.

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Marneros, Andreas. "Dem Zwang beugen sich auch die Götter." In Homers Ilias psychologisch erzählt. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-11202-8_11.

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Marneros, Andreas. "Der Verantwortung Last." In Homers Ilias psychologisch erzählt. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-11202-8_12.

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Marneros, Andreas. "Der Anti-Narzisst." In Homers Ilias psychologisch erzählt. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-11202-8_13.

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Marneros, Andreas. "Die Geburt der Rationalität." In Homers Ilias psychologisch erzählt. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-11202-8_14.

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Marneros, Andreas. "Geschwisterrivalität." In Homers Ilias psychologisch erzählt. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-11202-8_15.

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Marneros, Andreas. "Des Eros Machenschaften." In Homers Ilias psychologisch erzählt. Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-11202-8_16.

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Conference papers on the topic "Ilias (Homerus)"

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Лобская, А. А. "THE PROBLEM OF INTERPRETATION OF THE HOMER’S ILIAD TEXT IN GIORGIO DE CHIRICO’S CYCLE OF BOOK ILLUSTRATIONS." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.23.

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Целью статьи было изучение формально- стилистических и содержательных особенностей интерпретации текста поэмы Гомера «Илиада» в цикле книжных иллюстраций Дж. де Кирико. В ходе исследования выявлена художественная программа автора, особенности композиционного и колористического решения. Установлены особенности выбора сюжетов для иллюстрации в пользу менее популярных и зрелищных, но с меньшим количеством насилия. The purpose of the research was to study formal, stylistic and semantic particularities of G. de Chirico’s interpretation of the Homer’s Iliad in his cycle of book illustrations. The study revealed the author’s artistic program, features of compositional and coloristic solutions and the peculiarities of choosing subjects for illustration in favor of less popular and spectacular ones, but with less violence.
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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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

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Bongomin, Godfrey, Chelsea Huggett, Juhi Jain, and Sunetra Lala. Prática emergente para envolver homens e rapazes em WASH. Institute of Development Studies, 2023. http://dx.doi.org/10.19088/slh.2023.002.

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Este documento acompanha Fronteiras do Saneamento: Envolver homens e rapazes em WASH transformador de género, 2ª Parte, que analisa até que ponto o envolvimento de homens e rapazes nos processos de WASH está a produzir mudanças transformadoras nos papéis de género e nas atitudes, e mudanças sustentáveis na redução das desigualdades de género nas famílias, comunidades, organizações e políticas. São aqui apresentados exemplos práticos do Uganda, Zâmbia, Timor-Leste, Papua Nova Guiné, Ilhas Salomão, Bangladexe, Índia, Indonésia, Vanuatu e Nepal. Cada um destes exemplos, todos eles de projectos financiados pelo fundo Water for Women do governo australiano, descreve intervenções que utilizaram diferentes abordagens transformadoras de género para chegar a homens e rapazes e os levar a participar. Os exemplos descrevem também os êxitos e os desafios dos projectos.
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