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Letteratura scientifica selezionata sul tema "Argonauts (Greek mythology) Poetry"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Argonauts (Greek mythology) Poetry"

Metreveli, Lili. "Reception of Medea’s Image in Grigol Robakidze’s Novel „Megi the Georgian Girl“". International Journal of Social Sciences and Humanities Invention 5, n. 3 (22 marzo 2018): 4536–39. http://dx.doi.org/10.18535/ijsshi/v5i3.09.

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Greek mythology (myth about the Argonauts) have made character of Medea of Colchis the indivisible part of world cultural heritage. For centuries character of Medea has maintained its significance and comprised source of inspiration for the representatives of various spheres of fine arts.[1] Of course, regarding the contexts of the epochs (conceptual and esthetic position) and author’s intent, some motifs of the Argonauts’ myth and character of the woman of Colchis have been changing. In this respect, novel „Megi, Georgian Girl“ by Georgian modernist writer, Grigol Robakidze is of interest. Text, first published in 1932 in Germany[2] was translated into Georgian in 2012 and it is not properly studied till now.

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Psimopoulos, Angelos Per. "The Argonautic Expedition: The First Worldwide Naval Epic". International Journal of Literature Studies 1, n. 1 (29 dicembre 2021): 95–109. http://dx.doi.org/10.32996/ijts.2021.1.1.13.

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The Greek mythology is widely acclaimed as one of the richest treasures of universal epics; the myth of the Argonautic Expedition is one of the most interesting Greek myths. Some scientific authorities hold the opinion that the story of the Argonauts was no more than an inspiring fairy-tale, while others insist, it was a real historical event. They believe that it took place in 1225 BC, and Colchis was a country located in the Caucasus Mountains, near today’s country of Georgia. After a life-long study of more than thirty years using ancient texts and information coming from nautical maps and geography, oceanography and other fields of science, we propose that the real events were quite different from the currently proposed location. The Argonauts, and ancient Greeks at large, wanted to find a sea route to transport silk textiles and new species from the Far East countries to Greece or at least to open the Overland Route leading from the Black Sea to the Far East. In addition, they wanted to transport to Greece silkworm eggs to cultivate silkworms in Greece and produce silk. They started their journey from Iolcus and travelled around the Globe; they reached Colchis, Aeëtes' land that was actually China. They took from China eggs of the wild Silkworm instead of the real one and, sailing through the Indian Ocean, reached Suez, where they were forced to pull their ship across the land to reach Tritonis Lake. From there, they exited into the Mediterranean and arrived at Iolcus, the city from which they started their journey. That journey was made by the Argonauts around 1510 BC. Presently, giving a plethora of bibliographic references, we shall carefully attempt to expose the real events that happened during those ancient times under the mission code name "transporting the Golden Fleece to Greece". We shall say, who did this perilous feat, when and where it happened, what was the real purpose of the Argonauts’ journey, which were the correct routes followed carefully by the Argonauts, what were the countries they crossed or visited and finally what the Argonauts accomplished with that journey.

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Su, Yujie. "Greek Mythology in 18th-to-19th English Romantic Poetry". OALib 03, n. 08 (2016): 1–5. http://dx.doi.org/10.4236/oalib.1102773.

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Budelli, Rosanna. "Shamanic Reminiscences and Archaic Myths in the Story of the Goldsmith Ḥasan al-Baṣrī (Alf layla wa-layla)". Eurasian Studies 17, n. 1 (14 novembre 2019): 123–57. http://dx.doi.org/10.1163/24685623-12340067.

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Abstract The story of the goldsmith Ḥasan al-Baṣrī in the Arabian Nights preserves numerous traces of more ancient stories and testimonies of cultures apparently distant geographically and historically. In particular, it is possible to identify various elements that refer to the symbols and customs of shamanism, although transformed and rewritten according to the Arab-Islamic culture. The same phenomenon is found with the fragments of Greek mythology scattered throughout the story and especially with the adventures of the Argonauts whose affinities with the story of Ḥasan are rather amazing. The study has been conducted by comparing three BNF manuscripts that present significant differences in some points, reflecting the evolution of the Arabic text and the different mentality of the copyists who have reworked some passages. The changes concern above all the role of female protagonists particularly numerous throughout the tale.

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Bashir, Burhan. "Insanity or Inspiration: A Study of Greek and Arab Thoughts on Poetry". Arab World English Journal For Translation and Literary Studies 5, n. 2 (15 maggio 2021): 115–25. http://dx.doi.org/10.24093/awejtls/vol5no2.9.

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The nexus between poetry, insanity, and inspiration is peculiar and can be traced back to earlier centuries. There are many examples in Greek and Arab literature where poetry is believed to have connections with divinity, possession, or even madness. The paper will try to show what Greeks and Arabs thought about the origin and the creation of poetry. It will attempt to show how early mythology and legends of both assign a supernatural or abnormal source to poetry. References from these two cultures will show the similarity in some theories like that of muses and supernatural beings, helping the poet achieve his goal. In order to show the similarity, many Greek and Arab philosophers/poets shall be referred to in the discussion. The methodology used shall be descriptive and analytical in nature.

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Navarrete, Miquel Àngel, e Josep Maria Sala-Valldaura. "La tela de Penelope: Entre la Grècia clàssica i la poesia catalana actual". Zeitschrift für Katalanistik 1 (1 luglio 1988): 93–105. http://dx.doi.org/10.46586/zfk.1988.93-105.

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This essay examines the explicit references to Greek literature in Catalan poetry since 1980. For the first time, it examines how the Catalan poets include the mythology, philosophy and art of classical Hellas today – after the formative "noucentist" tradition of Carles Riba and Salvador Espriu – in their works. The diverse reception of Greek motifs is illustrated using selected examples. The subject areas are limited to a few central myths – primarily to the figure of the cunning Ulysses.

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Mishchenko, Anna N. "Features of Precedent Units Functioning in Russian Media Discourse (on the Example of «Argonauts», «Golden Fleece», «Jason»)". Proceedings of Southern Federal University. Philology 2020, n. 4 (25 dicembre 2020): 107–14. http://dx.doi.org/10.18522/1995-0640-2020-4-107-114.

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The article is devoted to the study of precedent units with the source «ancient Greek mythology», which have the potential to broadcast the linguistic and cultural features of a particular community, the recognition of which influences the success of intercultural communication. The work provides a comprehensive analysis of the precedent units included in the cycle «The History of the Golden Fleece», namely «Argonauts», «Golden Fleece», «Jason» in the texts of Russian-language media. In the article the author argues that the change in the semantics of constructions occurs not only at the denotative, but also at the connotative, pragmatic level, where the studied precedent units acquire new semantic features. The analysis of the functioning features of the precedent units included in the «History of the Golden Fleece» cycle allows us to establish the linguistic mechanisms of their «deployment» in the media discourse and come to the conclusion about the specifics of the fragment of the worldview, fixed in mythologized precedent phenomena.

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Dobroshi, Veron. "Recontextualization of the Greek myths in the poetry of Ismail Kadare". Dialogica. Revistă de studii culturale și literatură, n. 1 (maggio 2023): 81–86. http://dx.doi.org/10.59295/dia.2023.1.10.

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Mythology and literature are closely related and this has been proven by numerous literary works throughout history. This study focuses on the influence of Greek myths in the poetry of Ismail Kadare, one of the most well-known and valued Albanian authors in the world. Although this author is better known for his prose works, we should not forget the fact that his poetry also carries some important elements that should not be ignored and forgotten. In this study, some characteristics and elements of the Greek myths that are manifested in the verses of Kadare will be analyzed; it will be shown how these myths are recontextualized and adapted in the verse of the writer from Gjirokastra. The ancient Greek myths are so dense and manifested in the literature that there is no way they are not present in the creation of Ismail Kadare. In this study, this study, some Greek myths will be found and decoded, these make up the basis of some poems of Kadare and are incorporated, making the poetry of this author even richer in terms of ideo-thematic and artistic aspects.

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Mahato, Amar Shankar. "Mythology and Symbolism in A.K. Ramanujan’s Poem “A River”". Current Perspectives in Educational Research 6, n. 1 (13 ottobre 2023): 32–39. http://dx.doi.org/10.46303/cuper.2023.4.

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A.K. Ramanujan was a celebrated poet who demonstrated remarkable talent in incorporating mythology and symbolism into his poetry. In “A River,” Ramanujan employs mythological allusions to enrich the poem’s meaning. A.K. Ramanujan’s poem “A River” showcases his mastery in employing mythology and symbolism to convey profound meanings. This research paper delves into the intricate web of mythological allusions and symbolic imagery used by Ramanujan in “A River.” It explores their significance in unravelling the poem’s multi-layered meanings. It underscores the broader implications of mythology and symbolism, emphasizing their enduring relevance and ability to evoke deep emotions and provoke profound contemplation. Ultimately, this study enhances our understanding and appreciation of Ramanujan’s artistic prowess and invites further exploration into the power of mythology and symbolism in literature. One of the defining features of Ramanujan’s poetry is his adept utilization of mythology. Drawing from various mythological traditions, including Hindu, Greek, and Tamil, he infuses his poems with references to mythological figures, narratives, and motifs. These mythological allusions serve multiple purposes. Firstly, it adds layers of meaning to the poems, providing a rich tapestry of cultural and historical associations. By tapping into these archetypal stories, Ramanujan taps into a collective consciousness, engaging readers on a deep and universal level. Secondly, the mythological references allow Ramanujan to explore profound existential questions and timeless human dilemmas. Through myth, he tackles themes such as love, loss, identity, and the cyclical nature of life, resonating with readers across time and space. The incorporation of mythology and symbolism in Ramanujan’s poetry enriches the aesthetic experience and offers a deeper understanding of the human condition. By analyzing the various mythological references and symbols in the poem, this paper aims to shed light on the deeper thematic exploration of identity, tradition, and the passage of time.

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Desta, Dagnachew. "Genealogy of Ancient Philosophy in View of the “Great Quarrel”: Towards an Expository Essay". Athens Journal of Philosophy 2, n. 2 (1 giugno 2023): 83–100. http://dx.doi.org/10.30958/ajphil.2-2-2.

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This article attempts to offer a critical account of the genealogy of ancient Greek philosophy in its bid to transcend the old ruling mythopoeic culture. With this in mind, emphasis is given more to the speculative character of Greek thought rather than its technical and detailed aspects. In my account of the origin of Greek philosophy, I use Plato’s famous pronouncement (Plato, The Republic, Tenth Book) about the great quarrel between philosophy and poetry as a context to provide my analysis. In dealing with the question at hand, I develop the following interrelated claims. First, Greek philosophy made its appearance in the struggle against the mythical background. Here, even though early philosophy tried to move beyond myth, it did not completely transcend the world of mythology. Second, in dealing directly with the quarrel, I identify two issues (problems) as the basis of the conflict: A) the essence of the divine and B) the nature of the universe. Third, I sum up my article by making the following claims. 1) Greek philosophy took the crucial step in trying to explain the cosmos (world) by introducing a single fundamental principle. 2) The transition from traditional mythology to a rational account of the origin and nature of the universe is not the work of a single thinker but the effort of many philosophers over the generations. 3) A proper account of the transition is best explained if we approach it as a result of the process of “continuity in discontinuity”. 4) Early, Philosophy is not so much about the triumph of reason and science, but the conceptualization and differentiation of mythic cultures. Thus in a way, Greek philosophy emerged along with mythic culture against ‘mythic culture’ at the same time. Keywords: physis, nomos, arche, physiology, aperion, mythology, anthropomorphic

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Tesi sul tema "Argonauts (Greek mythology) Poetry"

Barnes, Michael H. "Inscribed kleos : aetiological contexts in Apolonius of Rhodes /". free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3091898.

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Hudson, Dorothy May. "Aspects of Valerius Flaccus' Argonautica : a literary assessment". Title page, contents and foreword only, 1986. http://web4.library.adelaide.edu.au/theses/09ARPM/09armh885.pdf.

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Rezende, Silva Alfredo Manoel de 1982. "Quarta pítica de Píndaro : tradução e comentário analítico". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268980.

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Orientador: Trajano Augusto Ricca Vieira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-24T01:57:28Z (GMT). No. of bitstreams: 1 RezendeSilva_AlfredoManoelde_M.pdf: 3151313 bytes, checksum: f040c0ee0a1a7d2be9517825555328e9 (MD5) Previous issue date: 2013
Resumo: A Quarta Pítica de Pindaro é um epinício de estrutura formal particular. A dissertação oferece seu texto e tradução, além de dedicar um comentário analítico a sua seção mítica. Como introdução, foram compilados excertos e fragmentos poéticos que antecipam a Quarta Pítica no ciclo argonáutico. Em seguida, o comentário à narrativa mítica do epinício propõe a distinção de dois grandes blocos, separados não só pelo aspecto temático, como a tradição observa, mas também pelo aspecto formal, revelado pela análise de suas estruturas constituintes e, pontualmente, pelo método comparativo. O trabalho demonstra, no primeiro bloco, o procedimento de composição anelar, e compara o segundo a uma gesta heroica. Por fim, sugere em análise uma nova interpretação da colometria deste epinício
Abstract: The Fourth Pythian Ode of Pindar is an epinicion of peculiar formal structure. The dissertation provides its text and a translation into Brazilian Portuguese, as well as an analytical commentary on the mythical section. The introduction is composed by a compilation of poetic excerpts and fragments prior to the Fourth Pythian in the argonautic cycle. Next, a commentary on the Pindar's mythic narrative proposes the distinction of the two major blocks, separated not only by thematic aspects, as evidenced by the tradition, but also by formal aspects, revealed by an analysis of their structures and, sporadically, by comparative method. This work demonstrates the procedure for ring-composition in the first block and compares the second to a heroic balladry. Finally, the dissertation suggests a new interpretation of this epinicions colometry
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Kobusch, Beate Pio Giovanni Battista. "Das Argonautica-Supplement des Giovanni Battista Pio Einleitung, Edition, Übersetzung, Kommentar /". Trier : WVT, Wissenschaftlicher Verlag, 2004. http://catalog.hathitrust.org/api/volumes/oclc/56679096.html.

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Breitenberger, Barbara M. "Aphrodite and Eros : the development of erotic mythology in early Greek poetry and cult". Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395290.

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Hirsch, Rachel. "Ariadne and the poetics of abondonment : echoes of loss and death in Heroides 10 /". Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7681.

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Petrella, Bernardo Ballesteros. "Divine assemblies in early Greek and Mesopotamian narrative poetry". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:cfd1affe-f74b-48c5-98db-aba832a7dce8.

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This thesis charts divine assembly scenes in ancient Mesopotamian narrative poetry and the early Greek hexameter corpus, and aims to contribute to a cross-cultural comparison in terms of literary systems. The recurrent scene of the divine gathering is shown to underpin the construction of small- and large-scale compositions in both the Sumero-Akkadian and early Greek traditions. Parts 1 and 2 treat each corpus in turn, reflecting a methodological concern to assess the comparanda within their own context first. Part 1 (Chapters 1-4) examines Sumerian narrative poems, and the Akkadian narratives Atra-hsīs, Anzû, Enûma eliš, Erra and Išum and the Epic of Gilgameš. Part 2 (Chapters 5-8) considers Homer's Iliad, the Odyssey, the Homeric Hymns and Hesiod's Theogony. The comparative approaches in Part 3 are developed in two chapters (9-10). Chapter 9 offers a detailed comparison of this typical scene's poetic morphology and compositional purpose. Relevant techniques and effects, a function of the aural reception of literature, are shown to overlap to a considerable degree. Although the Greeks are unlikely to have taken over the feature from the Near East, it is suggested that the Greek divine assembly is not to be detached form a Near Eastern context. Because the shared elements are profoundly embedded in the Greek orally-derived poetic tradition, it is possible to envisage a long-term process of oral contact and communication fostered by common structures. Chapter 10 turns to a comparison of the literary pantheon: a focus on the organisation of divine prerogatives and the chief god figures illuminates culture-specific differences which can be related to historical socio-political conditions. Thus, this thesis seeks to enhance our understanding of the representation of the gods in Mesopotamian poetry and early Greek epic, and develops a systemic approach to questions of transmission and cultural appreciation.

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Bocksberger, Sophie Marianne. "Telamonian Ajax : a study of his reception in Archaic and Classical Greece". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:a9bacb2a-7ede-4603-9e6a-bf7f492332ed.

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This thesis is a systematic study of the representations of Telamonian Ajax in archaic and classical Greece. Its aim is to trace, examine, and understand how and why the constitutive elements of his myth evolved in the way they did in the long chain of its receptions. Particular attention is paid to the historical, socio-cultural and performative contexts of the literary works and visual representations I analyse as well as to the audience for which these were produced. The study is divided into three parts, each of which reflects a different reality in which Ajax has been received (different with respect to time, place, or literary genre). Artistic representations of the hero, as well as his religious dimension and political valence, are consistently taken into account throughout the thesis. The first part - Ajax from Salamis - focuses on epic poetry, and thus investigates the Panhellenic significance of the hero (rather than his reception in a particular place). It treats the entire corpus of early Greek hexameter poetry that has come down to us in written form as the reception of a common oral tradition which each poem has adapted for its own purpose. I establish that in the larger tradition of the Trojan War, Ajax was a hero characterised by his gift of invulnerability. Because of this power, he is the figure who protects his companions - dead or alive - par excellence. However, this ability probably also led him to become over-confident, and, accordingly, to reject Athena's support on the battlefield. Hence, the goddess's hostility towards him, which she demonstrated by making him lose the reward of apioteia (Achilles' arms). His defeat made Ajax so angry that he became mad and committed suicide. I also show how this traditional Ajax has been adapted to fit into the Iliad's own aesthetics. The second part - Ajax in Aegina - concentrates on the reception of Ajax in the victory odes of Pindar and Bacchylides for Aeginetan patrons. I argue that in the first part of the fifth century, Ajax becomes a figure imbued with a strong political dimension (especially with regard to the relationship between Athens and Aegina). Accordingly, I show how the presence of Ajax in Pindar's and Bacchylides' poems is often politically charged, and significant within the historical context. I discuss the influence this had on his representation. Finally, the third part moves to Athens, as I consider Ajax's reception during three distinct periods: the sixth century, the first half of the fifth century, and finally the rest of the classical period. I equally insist on the political dimension of the figure. I demonstrate that his figure undergoes a shift of paradigm in the early fifth century, which deeply affects his representation. By following in the footsteps of Ajax, this study prompts a series of reflections and comments on each of the works in which the hero features as well as on the relationship of these works to the historical context in which they were produced.

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Rengakos, Antonios. "Apollonios Rhodios und die antike Homererklärung". München : C.H. Beck, 1994. http://books.google.com/books?id=XC1gAAAAMAAJ.

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Silverblank, Hannah. "Monstrous soundscapes : listening to the voice of the monster in Greek epic, lyric, and tragedy". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:f66a7bb1-de17-46f2-b79f-c671c149c366.

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Although mythological monsters have rarely been examined in any collective and comprehensive manner, they constitute an important cosmic presence in archaic and classical Greek poetry. This thesis brings together insights from the scholarly areas of 'monster studies' and the 'sensory turn' in order to offer readings of the sounds made by monsters. I argue that the figure of the monster in Greek poetry, although it has positive attributes, does not have a fixed definition or position within the cosmos. Instead of using definitions of monstrosity to think about the role and status of Greek monsters, this thesis demonstrates that by listening to the sounds of the monster's voice, it is possible to chart its position in the cosmos. Monsters with incomprehensible, cacophonous, or dangerous voices pose greater threats to cosmic order; those whose voices are semiotic and anthropomorphic typically pose less serious threats. The thesis explores the shifting depictions of monsters according to genre and author. In Chapter 1, 'Hesiod's Theogony: The Role of Monstrosity in the Cosmos', I consider Hesiod's genealogies of monsters that circulate and threaten in the nonhuman realm, while the universe is still undergoing processes of organisation. Chapter 2, 'Homer's Odyssey: Mingling with Monsters', discusses the monster whom Odysseus encounters and even imitates in order to survive his exchanges with them. In Chapter 3, 'Monsters in Greek Lyric Poetry: Voices of Defeat', I examine Stesichorus' Geryoneis and the presence of Centaurs, Typhon, and Gorgons in Pindar's Pythian 1, 2, 3, and 12. In lyric, we find that these monsters are typically presented in terms of the monster's experience of defeat at the hands of a hero or a god. This discussion is followed by two chapters that explore the presence of the monster in Greek tragedy, entitled 'Centripetal Monsters in Aeschylus' Prometheus Bound and Oresteia' and 'Centrifugal Monsters in Greek Tragedy: Euripides and Sophocles.' Here, I argue that in tragedy the monster, or the abstractly 'monstrous', is located within the figure of the human being and within the polis. The coda, 'Monstrous Mimesis and the Power of Sound', considers not only monstrous voices, but monstrous music, examining the mythology surrounding the aulos and looking at the sonic developments generated by the New Musicians.

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Libri sul tema "Argonauts (Greek mythology) Poetry"

Alberto, Borgogno, a cura di. Argonautiche. Milano: A. Mondadori, 2007.

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Zacharenakes, Kyriakos. Epos argonautōn: (ta "argonautika" tou Apollōniou stē sēmerinē glōssa me dekapentasyllavous se rima). Athēna: Ekdoseis Spanos-Vivliophilia, 2012.

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Sánchez Ortiz de Landaluce, Manuel., a cura di. Argonáuticas órficas. Cádiz: Universidad de Cádiz, Servicio de Publicaciones, 2005.

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Flaccus, Gaius Valerius. Argonautica =: Die Sendung der Argonauten : Lateinisch/Deutsch. Frankfurt am Main: P. Lang, 2003.

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Antonio, Río Torres-Murciano, a cura di. Argonauticas. Madrid: Gredos, 2011.

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Clauss, James Joseph. The best of the Argonauts: The redefinition of the epic hero in book 1 of Apollonius's Argonautica. Berkeley: University of California Press, 1993.

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Geōrgios, Vasilaros, a cura di. Apollōniou Rodiou Argonautikōn Aʹ. Athēnai: Kentron Ereunēs tēs Hellēnikēs kai Latinikēs Grammateias, 2004.

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D, Papanghelis Theodore, e Rengakos Antonios, a cura di. A companion to Apollonius Rhodius. Leiden [Netherlands]: Brill, 2001.

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Valerius Flaccus, Gaius, 1st cent., a cura di. Commentaire des Argonautica de Valérius Flaccus (livres 1 et 2). Bruxelles: Latomus, 2002.

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Giuseppe, Pompella, e Lehrs, F. S. (Franz Siegfried), 1806-1843, a cura di. Argonautica. Hildesheim: Georg Olms, 2006.

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Capitoli di libri sul tema "Argonauts (Greek mythology) Poetry"

Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga". In Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.

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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.

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Hard, Robin. "Jason and the Argonauts". In The Routledge Handbook of Greek Mythology, 392–417. Routledge, 2019. http://dx.doi.org/10.4324/9781315624136-18.

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"JASON AND THE ARGONAUTS". In The Routledge Handbook of Greek Mythology, 397–420. Routledge, 2003. http://dx.doi.org/10.4324/9780203446331-30.

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"11. Poetry and the Ideology of the Polis: The Symbolism of Apportioning Meat". In Greek Mythology and Poetics, 269–75. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732027-014.

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Potter, Amanda. "Greek Myth in the Whoniverse". In Ancient Greece on British Television, 168–86. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412599.003.0009.

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Along with 21^st-century spinoffs The Sarah Jane Adventures and Torchwood, the iconic British science fiction series Doctor Who has engaged with Greek mythological characters and storylines across five decades. This chapter explores trends in this engagement. Troy and Atlantis are settings for the time-travelling Doctor inadvertently to set in motion events leading to their fall (‘The Myth Makers’, 1965, ‘Time Monster’, 1972), Medusa and the Minotaur are creatures in a fantasy world (‘The Mind Robber’, 1968) and stories of the Argonauts, the Minotaur and the Trojan War are set in space (‘Underworld’, 1978, ‘The Armageddon Factor’, 1979 and ‘The Horns of Nimon’, 1979-80). More recently, Greek mythological objects are cast as alien: e.g. Philoctetes (‘Greeks Bearing Gifts’, 2006), the Gorgon (‘The Eye of the Gorgon’, 2007), Pandora’s box (‘The Pandorica Opens’, 2010), the Minotaur (‘The God Complex’, 2011), and the Siren (‘The Curse of the Black Spot’, 2011). Evidence for the popularity of Greek mythology amongst contemporary viewers is discussed. By tracing shifting intersections between Greek myth and the ever-developing mythology of Doctor Who, this chapter considers how the long-running series anticipates, plays with and informs audience knowledge of Greek mythology, and spurs them on towards criticism and invention.

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Griffin, Jasper. "Greek Myth and Hesiod". In The Oxford History Of Greece And The Hellenistic World, 82–106. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780192801371.003.0004.

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Abstract Everyone is familiar with some Greek myths: that Oedipus solved the riddle of the Sphinx and married his mother, that the Argonauts sailed away in search of the Golden Fleece. Many poeple know that there is a large modern literature about mythology, from Sir James Frazer’s Golden Bough and Robert Graves’s Greek Myths to the dense and complex accounts given by Claude Levi-Strauss and the Structuralists. Myth is a very attractive subject, but the immense disagreements of the experts show that it is also a very difficult one. It was a brilliant stroke of George Eliot to show the learned Mr Casaubon, in Middlemarch, struggling to write a Key to all Mythologies, swamped and overwhelmed by masses of material on which he could not impose any intelligible order.

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Nieto Hernández, Pura. "The Mythographical Impulse in Early Greek Poetry". In The Oxford Handbook of Greek and Roman Mythography, 13—C1.P126. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.2.

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Abstract This chapter proposes that the distinction between mythology and mythography, despite their differences, is less sharp than is often assumed. It is common to establish a strong divide between an “original,” “creative,” mythmaking era that coincides with oral poetic compositions and a later, merely imitative, explanatory, and unoriginal period marked by written prose texts. But if mythography seems concise and dry, lacking the rich nuances of poetic expression, this owes to differences of genre or modes of composition rather than to date or nearness to a supposed primary, inspired period of Greek mythmaking. It is therefore possible to see how some characteristic features of mythography (such as the systematization, ordering, expurgation, and interpretation of stories) are also employed in the Iliad and the Odyssey, and by Hesiod and other archaic poets. For example, catalogues and genealogies are frequently used in archaic poetry and by the mythographers as a means of ordering and systematizing scattered stories. Common to both, too, is an acknowledgment of different versions of a story and the rectification of elements considered erroneous or impious. Finally, the interpretative aspect of mythography can also be found in the archaic poets, who often employ etymological explanations of words or names and other types of glosses, and even full-blown allegory. All these categories overlap, as the examples provided attest. Whether early poets were or not aware of these features as constituting distinct mythographical modes, the typology proposed here should suffice to show that mythography is coeval with what we understand by mythology.

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Domaradzki, Mikolaj. "Antisthenes and Allegoresis". In Early Greek Ethics, 361–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198758679.003.0017.

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“Antisthenes and Allegoresis” examines the question of Antisthenes’ allegoresis. First, the chapter shows that persistent disagreement among scholars on this topic arises from divergent understandings of what qualifies as allegorical interpretation. Subsequently, the chapter demonstrates that those Antisthenean interpretations that are most frequently categorized as allegorical illustrate broader controversies in research on allegoresis such as whether allegoresis should be defined in terms of its intentionality and whether allegoresis should be defined in terms of its obviousness. Finally, the chapter suggests that Antisthenes’ diversified approach to epic poetry and traditional mythology was conducive to the development of two distinct traditions: a rationalist one and an allegorist one.

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Fahey, Diane. "Working with Greek Mythology: A Journey through Images". In Feminist Poetics of Sacredtne, 221–42. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195144680.003.0012.

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Abstract My interest in Greek mythology began in the early 1980s and led to my writing two collections of poetry based on Greek mythology: Metamorphoses (1988), which centers on female figures in Greek myth, and Listening to a Far Sea (1998), which is mainly about male figures. At the time I began, I was aware of the way myths could offer insight into some of the abiding patterns and themes in human experience-developmental issues, the quest for freedom and self-realization, finding a place and way of being in the world, the facing of death and suffering-and I soon became acquainted with the work of writers such as Christine Downing (1996) and Ginette Paris (1990) who were using myth as a tool of personal differentiation and cultural exploration with a specifically feminist focus.

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Feeney, D. C. "Epic of Myth: Valerius Flaccus’ Argonautica and Statius’ Thebaid". In The Gods in Epic, 313–93. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198140559.003.0008.

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Abstract The last two epics of our study treat subjects from the time before the heroes of Homer. The voyage of the Argonauts is already a famous topic of poetry in the Odyssey. Circe speaks to Odysseus of ‘Argo, which is in the minds of al!’ (Od. 12. 70). On our present evidence, this was the myth that first broke history’s gnp on Roman epic after one hundred and fifty years, when Vergil’s contemporary, Varro of Atax, adapted Apollonius’ Argonautica into Latin hexameters. The subject of Statius’ epic, the expedition of the Seven against Thebes, was likewise a long-standing favour ite in the Greek world, which had also been treated by at least one earlier Roman epic poetz It remains to see if these topics still have life in them, and if the gods are a part of that life.

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