Reading Homer's Odyssey is a book by book commentary on the epic's major themes. Each of the epic's 24 books are divided into sections to stress the length and the importance placed on specific topics and episodes. Footnotes are provided throughout to clarify and complete myths that Homer leaves unfinished, to explain certain terms and phrases, and to provide background information whenever necessary. Additionally, there is a bibliography on the Odyssey, as well as bibliographies that accompany each book's commentary.
We still read Homer’s epic the Iliad two-and-one-half millennia since its emergence for the questions it poses and the answers it provides for our age, as viable today as they were in Homer’s own times. What is worth dying for? What is the meaning of honor and fame? What are the consequences of intense emotion and violence? What does recognition of one’s mortality teach? We also turn to Homer’s Iliad in the twenty-first century for the poet’s preoccupation with the essence of human life. His emphasis on human understanding of mortality, his celebration of the human mind, and his focus on human striving after consciousness and identity has led audiences to this epic generation after generation. This study is a book-by-book commentary on the epic’s 24 parts, meant to inform students new to the work. Endnotes clarify and elaborate on myths that Homer leaves unfinished, explain terms and phrases, and provide background information. The volume concludes with a general bibliography of work on the Iliad, in addition to bibliographies accompanying each book’s commentary.
Resistance theater in Greece under Nazi occupation was organized by the political and armed wings of the EAM/ELAS resistance movement and operated in the mountains of what was called Free Greece. This work introduces the cultural resistance of over 1000 cultural teams across Greece that mounted over 22,000 performances from 1943-44 and the work of three subsidized troupes that toured the mountain villages and armed camps of Epirus, Thessaly, and western Macedonia. It targets the history of the largest of those troupes and its performances that constitute the largest single source of resistance texts in Free Greece.
Karagiozis—a form of comic folk drama employing stock puppet figures—was immensely popular in Greece until recent years, when newer forms of entertainment have virtually eclipsed it. Derived from ancient Byzantine and Greek sources, it takes its name from the principal puppet character, the clever, humpbacked fool-hero Karagiozis, who appears in many guises, surrounded by a cast of folk caricatures from all walks of life. Kostas and Linda Myrsiades present here a tripartite view of Karagiozis: a translation of a typical text taken directly from a live performance; interviews with one of the last master Karagiozis puppeteers; and an analysis of the place of this indigenous genre in Greek life and culture. The first part of the book examines critical issues concerning the context of Karagiozis performance: its place as an expression of an unofficial social world, as a gender statement that reveals the split vision of its culture, as an expression of a pluralistic society, and as an indigenous event shaped by economic, geographic, political, and social forces. The second portion offers insights from interviews with Giorgos Haridimos, until his retirement Greece's preemi-nent Karagiozis player, and a translation of his classic text "Karagiozis Baker" reflecting an actual performance by Haridimos. Through novel verbal and typographic devices, Kostas Myrsiades succeeds in preserving the full flavor of his oral source—its rhythms and intonations, its linguistic nuances, and even audience reactions—to convey the actual experience of the theatergoer. This unique translation thus establishes a model for collecting and disseminating oral theatrical tradition. Folklorists, cultural historians, and students of theater will appreciate this introduction to an ancient but little known folkloric form.
Finalist for the 2020 PROSE Awards, Classics section Homer’s Odyssey is the first great travel narrative in Western culture. A compelling tale about the consequences of war, and about redemption, transformation, and the search for home, the Odyssey continues to be studied in universities and schools, and to be read and referred to by ordinary readers. Reading Homer’s Odyssey offers a book-by-book commentary on the epic’s themes that informs the non-specialist and engages the seasoned reader in new perspectives. Among the themes discussed are hospitality, survival, wealth, reputation and immortality, the Olympian gods, self-reliance and community, civility, behavior, etiquette and technology, ease, inactivity and stagnation, Penelope’s relationship with Odysseus, Telemachus’ journey, Odysseus’ rejection of Calypso’s offer of immortality, Odysseus’ lies, Homer’s use of the House of Atreus and other myths, the cinematic qualities of the epic’s structure, women’s role in the epic, and the Odyssey’s true ending. Footnotes clarify and elaborate upon myths that Homer leaves unfinished, explain terms and phrases, and provide background information. The volume concludes with a general bibliography of work on the Odyssey, in addition to the bibliographies that accompany each book’s commentary. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
We still read Homer’s epic the Iliad two-and-one-half millennia since its emergence for the questions it poses and the answers it provides for our age, as viable today as they were in Homer’s own times. What is worth dying for? What is the meaning of honor and fame? What are the consequences of intense emotion and violence? What does recognition of one’s mortality teach? We also turn to Homer’s Iliad in the twenty-first century for the poet’s preoccupation with the essence of human life. His emphasis on human understanding of mortality, his celebration of the human mind, and his focus on human striving after consciousness and identity has led audiences to this epic generation after generation. This study is a book-by-book commentary on the epic’s 24 parts, meant to inform students new to the work. Endnotes clarify and elaborate on myths that Homer leaves unfinished, explain terms and phrases, and provide background information. The volume concludes with a general bibliography of work on the Iliad, in addition to bibliographies accompanying each book’s commentary.
Karagiozis—a form of comic folk drama employing stock puppet figures—was immensely popular in Greece until recent years, when newer forms of entertainment have virtually eclipsed it. Derived from ancient Byzantine and Greek sources, it takes its name from the principal puppet character, the clever, humpbacked fool-hero Karagiozis, who appears in many guises, surrounded by a cast of folk caricatures from all walks of life. Kostas and Linda Myrsiades present here a tripartite view of Karagiozis: a translation of a typical text taken directly from a live performance; interviews with one of the last master Karagiozis puppeteers; and an analysis of the place of this indigenous genre in Greek life and culture. The first part of the book examines critical issues concerning the context of Karagiozis performance: its place as an expression of an unofficial social world, as a gender statement that reveals the split vision of its culture, as an expression of a pluralistic society, and as an indigenous event shaped by economic, geographic, political, and social forces. The second portion offers insights from interviews with Giorgos Haridimos, until his retirement Greece's preemi-nent Karagiozis player, and a translation of his classic text "Karagiozis Baker" reflecting an actual performance by Haridimos. Through novel verbal and typographic devices, Kostas Myrsiades succeeds in preserving the full flavor of his oral source—its rhythms and intonations, its linguistic nuances, and even audience reactions—to convey the actual experience of the theatergoer. This unique translation thus establishes a model for collecting and disseminating oral theatrical tradition. Folklorists, cultural historians, and students of theater will appreciate this introduction to an ancient but little known folkloric form.
Drinking from the Blood-Pit is a work of creative nonfiction, which uses Odysseuss descent to the underworld (Od.10.490-95) as a unifying theme for each of the fourteen pieces included. Each piece is based on a Homeric theme and/or episode that stresses the lessons culled from reading Homers Iliad and Odyssey on the authors journey from childhood to adulthood. The title of each story indicates the Homeric myth or episode used and is accompanied by a short epigraph from either the Iliad or Odyssey. The fourteen works are divided into three sections: childhood, adolescence, and adulthood. The first part, childhood (four stories), describes growing up on the island of Samos, Greece, during the Nazi occupation and the Greek Civil War that followed. The second section, adolescence (four stories), continues the authors odyssey to the United States, attempting to deal with a new language and becoming acclimated to a foreign culture. The third part, adulthood (six stories), returns the author to his native land as a student of Greek culture struggling to study the censored works of Greek poets under the military government of 19671974.
Resistance theater in Greece under Nazi occupation was organized by the political and armed wings of the EAM/ELAS resistance movement and operated in the mountains of what was called Free Greece. This work introduces the cultural resistance of over 1000 cultural teams across Greece that mounted over 22,000 performances from 1943-44 and the work of three subsidized troupes that toured the mountain villages and armed camps of Epirus, Thessaly, and western Macedonia. It targets the history of the largest of those troupes and its performances that constitute the largest single source of resistance texts in Free Greece.
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