This prose translation of the Odyssey is so successful that it has taken its place as one of the few really outstanding versions of Homer's famous epic poem. It is the story of the return of Odysseus from the siege of Troy to his home in Ithaca, and of the vengeance he takes on the suitors of his wife Penelope. Odysseus's account of his adventures since leaving Troy includes his encounter with the enchantress Circe, his visit to the Underworld, (...) and the lure of the Sirens. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Aristotle sets the horizons of our inquiry: What is it when we say we know something? And is the object of knowledge a universal or particular [tode ti] object? Aristotle's critique of Plato's theory of form/Forms in light of his notion of actuality has generated a variety of topics that frame our inquiry: "Understanding Eidos as Form in the Works of Aristotle as Plato's Critical Student"; "Aristotle on Plato's Forms as Causes"; "Notes on the Relationship between Plato's Parmenides and Aristotle's (...) Metaphysics Alpha"; "'Separate' and 'Inactive'? Aristotle's Most Challenging Critique of Plato's 'Forms'"; "Too Much Unity in a City Is Destructive of the City: Aristotle against Plato's Unification Project of the Polis"; "Aristotle on the Soul as Actuality"; "Delphic Piety in the De Anima of Alexander of Aphrodisias"; "Aristotle and Plotinus: Act and Potency and the Two Acts"; and "Al-Fārābīon Habit and Imagination." Here, the Peripatetic readings of form and actuality are parsed from the precipice of historical, analytic, and continental approaches to the mind/language/object problem, with advocacy of the importance of Aristotle's contribution to this inquiry for the present age. (shrink)

Two main views of the country called in the Odyssey the Land of the Phaeacians or Scheria are current among Homeric scholars. Some think it is, or is in, the island known to the ancients as Corcyra, and that the people who are described as living in it were ordinary flesh and blood mortals. The other view, the belief of the majority, though of great variety, is that Scheria is in fairyland or some other supramundane sphere, and a creation (...) of the poet's fancy. In Class. Rev. XXIV. 204 Mr. Evelyn-White says, after quoting Monro, that it ‘cannot be disputed’ that the Phaeacian and other adventures of Odysseus are Märchen, so the matter is as good as closed. But as many of the Homeric choses jugées of last century have been proved of recent years to be unsubstantial, it has seemed worth while to examine the fairyland theory afresh. I begin with a survey of the literature of the question, and shall then inquire in a second paper what Homeric foundation there is for the supernatural theory. Elsewhere I shall endeavour to show that Homer describes a real people, and that Scheria can be fitted into the Mediterranean world, as we now know it, of the latest Minoan or Mycenaean period, and is in fact a Minoan settlement in Corcyra. (shrink)

Bergk in his Griechische Litertur geschichte, Vol. I., pp. 708, 709, 710, 715, and elsewhere, rejected all verses in the Odyssey where reference is made to Eurynome, a servant or attendant in the palace of Odysseus. His comments on p. 715 concerning the first verses of the twentieth book are typical: ‘Right at the beginning of this book the appearance of Eurynome shows the activity of the imitator. This very passage proves beyond a doubt that Eurynome had no part (...) in the original poem, and that a later bard arbitrarily used her name instead of the name of Eurycleia, who was the true female attendant in the old form of the Odyssey.’. (shrink)

In Appendix II. to his edition of Odyssey, xiii.-xxiv., the late Dr. Monro examined the ‘ Relation of the Odyssey to the Iliad.’ One section of this Appendix, pp. 327 sqq., deals with ‘ passages of the Iliad borrowed or imitated in the Odyssey.’ It is there admitted that repetition is a characteristic of the epic style, and that in many cases of parallelism no detrimental inference can legitimately be drawn. But if, it is said, ‘ we (...) are able to point to a sufficient number of passages tending to show that the author of the Odyssey imitates the Iliad, and if no considerable instances can be produced of the converse,’ then it is thought there is confirmation of the view that the Odyssey is the later poem. The object of the present paper is to suggest that the decisions in individual cases have been arrived at on scanty or disputable grounds, and without due regard to relevant epic practice; and consequently that the reasons for inferring the existence of a later poet imitating an earlier are inadequate. (shrink)

La publication de la première traduction française de The Authoress of the Odyssey (1897) de Samuel Butler, en 2009, suscite un nouvel examen du livre et de sa thèse volontairement provocatrice : l’Odyssée aurait été écrite par une jeune femme. Les préfaces aux éditions anglaises de 1967 et 2004 soulignent la justesse des interprétations de Samuel Butler relatives au style et au ton du poème, ainsi que sa manière de revendiquer son propre positionnement critique – ceci bien avant que (...) la démarche soit théorisée par les études académiques modernes. En ce qui concerne la place fondamentale accordée aux personnages féminins et à leurs points de vue dans l’épopée, l’article propose ici une alternative à la thèse insolite de Butler, rejetée par presque tous les spécialistes, en faisant état des recherches actuelles qui s’intéressent à la réception du poème, à la mixité de l’auditoire et à l’existence de traditions poétiques orales spécifiquement féminines. (shrink)

This article applies and defends an intertextual approach to Heraclitus B51 DK, the ‘bow-lyre fragment’. It argues that the fragment alludes to the climactic scene of the Odyssey in which the hero strings the bow and is likened to an expert lyre-player. It then explores some implications of this point for our understanding of the significance of the fragment, of the sixth-century reception of the Odyssey and of Parmenides’ reception of Heraclitus.

Après l’Odyssée d’Homère et les Argonautiques d’Apollonios de Rhodes, les romans grecs offrentassurément les plus célèbres des récits de voyage de la littérature grecque de l’Antiquité. Cinq romans ont été composés entre le ier et le iiie siècles après J.-C. et nous ont été conservés par l’intermédiaire de manuscrits médiévaux. Dans ces textes, les héroïnes sont embarquées dans une navigation périlleuse qui sera l’occasion d’une mise à l’épreuve des qualités qui leur seront utiles à leur retour pour accomplir leur destin (...) d’épouses et de mères. Ce type de voyage au long cours n’a guère de correspondant réel dans la société grecque. Mais, par le roman, celles-ci accèdent à un statut nouveau dans l’histoire de l’imaginaire grec et prennent place à côté des plus grands héros de la mythologie. (shrink)

"Jacob Howland's book is an engaging, readable, and extremely suggestive addition to the literature on Plato's magnum opus." --Ancient Philosophy.

This book is a comprehensive study of the Odyssey's plot, which shows how the motifs of disguise and recognition are used to articulate the central values of Homeric society. The story of Odysseus' homecoming is discussed in relation to family dynamics, heroic competition, the social institutions of marriage and hospitality, gender relations, and the enduring power of song.

This article examines the cultural and artistic context of one of the most famous Roman frescoes, the Odyssey Landscapes. It argues that the painting's fictive portico frame would have evoked in the Roman viewer the experience of the ambulatio, the act of walking for leisure and contemplation that came to be an essential element of a properly Hellenized otium. The painted portico thus puts the viewers in the proper frame of mind to appreciate the intellectual associations of the painting (...) as they walk with Odysseus on a parallel journey of philosophical reflection. (shrink)

The issue of hospitality in education has become prominent in the philosophy of education, with various articles and books being published recently. This is so for a number of reasons, such as the necessity to harbour and include immigrants and refugees in our schools and education systems, the rising levels of violence being experienced by individuals in school communities, and the importance of establishing dialogical relations between teacher and students and between students. In this article, we discuss the concept of (...) hospitality by turning to Homer (eighth Century Bce) and his classic work, The Odyssey (Ὀδ”σσεια), connecting it to the issue of hospitality in education. The article is divided into two sections. In the first, we refer to two passages in Homer’s The Odyssey that are very pertinent to the issue of the issue at hand; the Phaeacian passage, which stands for a prime example of hospitality, and the Laestrygonian case, a seminal example of non-hospitality, of hostility. In the second, we conduct a philosophical inquiry into hospitality and education. (shrink)

"In his earlier volume, Tradition and Authenticity in the Search for Ecumenic Wisdom, Thomas Langan explored the distinctive kinds of truth handed on by explicit traditions and raised the question of integrating these many diverse truth claims into a responsible, meaningful vision of reality. In Being and Truth, the author lays a foundation for this concept: a theory of knowledge and a theory of being that can find a place for all these differing realities. Although experience is always interpreted in (...) the light of our traditions, Being and Truth shows that this does not preclude real access to persons, things, and their interrelationships." "Balancing the realities of subjectivism with the demands of objective form and structure, giving both the relatively permanent and the ephemeral their due, is at every moment delicate. The "common sense" at the core of each person's "natural faith" must serve as a guide - yet neither of these is a simple notion. Langan unabashedly calls on his own wide-ranging experience of the lived world to illustrate this dialectic. Students and scholars of political philosophy, intellectual history, and theology will benefit from this rich and insightful text, which integrates historicity without undermining the possibility of attaining lasting truth."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

Professor Scott in his paper on ‘Eurynome and Eurycleia’ was inclined to believe, although he did not press the point, that Eurynome and Actoris were one and the same servant, the name Actoris being a patronymic. This explanation was offered also by Hayman, who compares Actorion , but it has been ignored by Wilamowitz and by van Leeuwen-Mendes da Costa, who reject ψ 226 sqq. It is an ingenious attempt to solve a small Homeric problem, and would be convincing but (...) for two reasons, of which the first has to do with the poet's manner and the second with the circumstances of the recognition scene in ψ. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Siren Songs: Gender, Audiences, and Narrators in the OdysseyErwin F. CookLillian Doherty. Siren Songs: Gender, Audiences, and Narrators in the Odyssey. Ann Arbor: University of Michigan Press, 1995. viii 1 220 pp. Cloth, $37.50.Siren Songs makes a significant contribution to feminist literature on Homer. Most importantly, Doherty is able to show in detail how the very sensibilities that make Homer appealing to the modern reader can seduce (...) the unwary into accepting the poem’s androcentric frame of reference. If her book’s ideological model based on gender and class hierarchy leads to repeated imprecisions and reductionism, this affects its argument in detail, but not in outline.Doherty’s methodology is objectivist, assumes an essentialist definition of the female, and consciously avoids positioning the Odyssey in the context of archaic Greek gender constructions. One place where she at least acknowledges that the Odyssey originated in a specific culture exposes a problem some will have with this book: “It may be objected that my conclusions are hardly surprising given the aristocratic focus of early Greek epic and the patriarchal norms of archaic Greek society. In this context, it may be urged, the surprise is to see lower-class and female characters even this fully represented” (170). She responds that her conclusions refute arguments by Farron and Rose that in giving prominence to female and lower-class characters Homer makes an antiaristocratic statement. This tactic runs the risk of reducing her own efforts to a book-length refutation of a pair of articles.Many Homerists will also be surprised to read that “the production and reception of a narrative text is never a direct act of communication between the author and the external audience but a ‘bracketed’ or mediated communication” (87). Thus, the poem’s external audience is not “composed of living human beings, who have read and judged the epic since its creation, but... a hypothetical audience posited by the epic narrator” (19). Further, no true repetition exists in literature (182–83). These assertions derive from critical approaches to the modern novel, and although true to a certain extent of all literature they are arguably least true of poetry composed in performance using metrical formulae.Chapter 1 surveys scholarship on whether Penelope recognizes Odysseus before the mnesterophonia. Doherty argues that Penelope’s motivation remains obscure because of an accumulation of narrative indeterminacies created by multiple focalization (45–46; though cf. her apparent assumptions on 143). She lauds Felson-Rubin and Winkler for their insistence on regarding Penelope as an agent capable of acting in her own self-interest, and equal to her husband in metis. Yet they ultimately fail to stand outside the poem’s androcentric frame of [End Page 461] reference and to see that Penelope’s excellence is based on traits she shares with males. It thus becomes necessary to establish narrative openings that expose “instabilities within ideology” (52) or permit the reader “to project active and even subversive female subject positions” (63). Narrative redundancies serving to reinforce the androcentric frame must also be acknowledged, however, for opening the text may inadvertently render its androcentric frame more palatable.Chapters 2 and 3 reconstruct the poem’s internal and external audiences. Doherty argues that these audiences included women. Although Eumaeus’ ability to evaluate the beggar’s storytelling ability proves he is no stranger to epic performance, he “must be considered an ‘overhearer’ rather than a member of the regular audience” (72–73). Eumaeus can, however, support a very different view of class relationships in Homer: when Telemachus appears unexpectedly, Eumaeus kisses his eyes and greets him as a father greets a long-absent son, and Telemachus addresses him as atta; Eumaeus is able to buy a slave on his own; and he may have an advisory role at court since he says he used to question people claiming to have seen his master.The Nekuia is central to Doherty’s project in these chapters. Odysseus’ decision to pause after his catalogue of women divides the Nekuia “roughly along gender lines, and draws attention to the fact that the internal audience of Phaeacians is also marked for gender” (67). In her approval of Odysseus’ tale, Arete... (shrink)

Three contributions have been made recently to the understanding of the house of Odysseus. In 1949 Professor L. R. Palmer1 revived the theory that a door at the back of the megaron led into the womena's quarters, a two-storied building with storerooms on the ground floor and stairs leading up to Penelope's rooms. ‘If only we resist the temptation to use Mycenaean palaces as the mise-en-scène for Homer's story’ , we recognize a house type which was widely diffused over the (...) Indo-European world from Neolithic to medieval times. (shrink)

Historian, city planner, international lecturer, and early advocate of interdisciplinary study, Corinne LathropGIlb draws on disciplines beyond the conventional study of history to explore such diverse topics as symbolismin city planning, biorhythms as determinants of creativity, the intertwined histories of liberalism andcorporatism, and the role of beauty in public policy. Woven as a subtext throughout this collection ofarticles, speeches, and other short writings is Dr. Gilb's inquiry into the dynamic between inner history ("thearchitecture of self-space") and outer history. Thought-provoking and (...) entertaining, Toward Holistic History istimely in its call for an historiography that recognizes the "great honeycomb" of pluralisms that defines our world. (shrink)

It has been easy to take the apparently detached viewpoint of the two early Greek epics as actually objective, a window on a ‘Heroic Age’, on a ‘Homeric society’ and its values. We used to ask whether ‘Homeric society’ belongs to the poets' own time or to some earlier one. We still ask how to characterize and explain the ways in which the ‘Homeric world’ differs from any world that we can accept as having existed: we answer with phrases such (...) as ‘poetic exaggeration’ and ‘epic distance’. We have constructed ‘Homeric society’, but it remains an isolate. It can tell us nothing in return of the poets' intentions, or of the society of their time, unless we have a working hypothesis as to the place in that society that was held by the poets and their audiences. (shrink)