In this paper I aim to test a general interpretation of television series as narrative epics, in the sense defined by Aristotle’s Poetics and canonised by Renaissance literary theorists.

The Epic of Evolution is a course taught at Northern Arizona University. It engages the task of formulating a new epic myth that is based on the physical, natural, social, and cultural sciences. It aims to serve the need of providing meaning for human living in the vast and complex universe that the sciences now depict for us. It is an interdisciplinary effort in an academic setting that is often divided by specializations; it focuses on values in a (...) climate of relativism; and it concentrates on an enterprise for which there are few textbooks at hand. The course is presented in three segments: the cosmos before humans appeared, the human phenomenon, and scenarios for the future of evolution. (shrink)

The myths and tales relative to the Raven are among the most evident cultural elements which unite the peoples of Northeast Asia and those of Northwest America. In Asia as in America, the Raven appears in the role of civilizing hero and also in that of trickster and mythological rascal; moreover, a good number of subjects have a resonance on both sides of the Bering Sea. To identify these subjects, an attentive analysis of the folklore is often necessary, but the (...) results are quite clear. Legends of the Raven are to be found in all the tribes of Kamchatka, of the peninsula of the Chukchees and of Alaska: among the Itelmenes, the Koriaks, and the Chukchees, among the Athabascans of the North, the Eyaks, the Tlingits, the Haïdas, the Tsimshians, the Kwakiutls and other Indians of the northwest coast, and finally among the Eskimos and the Aleuts. These legends create a well-defined folklore region beyond whose limits we find either echoes of the different themes of the Raven (a result of the direct influence of Chukchee folklore or of the Indians of the Northwest) or very primitive tales in which the Raven does not appear as the civilizing hero, and is presented minus his religious-mythological halo primarily in a negative aspect. We find these kinds of stories not only on the periphery of the area of diffusion of the Raven epic but also in other folklore areas, often quite distant. (shrink)

This article deals with Calchas’ prophecy and Diomedes’ and Ulysses’ interventions during the mustering of the Greeks at Aulis in Statius’ Achilleid. It will be argued that Calchas and Ulysses embody two different approaches to the generic tensions of the new epic which Statius’ poem represents. Calchas, the old uates of the Homeric tradition, seems unable to fully understand the ‘poetics of illusion’ enacted by Thetis and Achilles in disguise, as is clear from his vision. His point of view (...) is skilfully complemented by Ulysses, who turns out to be the true uates, as well as the perfect leader for Achilles’ rescue. As the only figure who can face the fluid and ambiguous reality of the poem and its literary dynamics as well, Ulysses also stands as a poetic voice himself; through his speech, Statius reflects upon the tensions of his epic and the poetic effort needed to channel the narrative from the peaceful setting of Scyros to the martial horizon of Troy. (shrink)

An Epic of Technical Supremacy: Works and Words of Medieval Chinese Textile Technology. By Dieter Kuhn. Riggisberg (Switzerland): Abegg-Stiftung, 2022. Pp. 488. CHF 120.

Drawn from sixty years of scholarship, this edited collection is the first volume to collate the most influential modern academic writings on Flavian epic poetry, revised and updated to provide both scholars and students alike with a broad yet comprehensive overview of the field.

The history of Milton's reception in Poland suggests that he was mainly seen as a model practitioner of epic poetry, rather than as a political or religious thinker. This conclusion is borne out by comparing two of the three complete translations of Paradise Lost into Polish—the first by Jacek Przybylski (1791), the second by Władysław Bartkiewicz (1902) (the third being Maciej Słomczyński's 1974 translation). The examination of a few crucial passages demonstrates that the earlier translation, Przybylski's, is more successful (...) in representing Milton's linguistic sophistication, theology, and attitude to the Roman Church, than Bartkiewicz's later translation, which, characterized above all by a concern with Catholic correctness, includes many omissions and distortions. Słomczyński's translation, criticized for its theological inaccuracies, is only briefly discussed, as are a few fragments of Milton's work that were translated by other Polish poets. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s 1803 (...) “Trauerspiel mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

Given Aristotle’s response to Plato’s views by positing a cathartic function for tragedy, it is understandable that an author opposing him through the development of a non-Aristotelian theatrical theory would spontaneously draw closer to Platonic thought. However, Brecht’s stance goes beyond this spontaneous proximity in this debate. This article challenges those critics who have overlooked the direct relationship between Plato and Brecht, and it offers a reasoned decision on Walter Benjamin’s verdict that epic theatre is a form of Platonic (...) drama. Moreover, it argues that Brecht’s endeavour aimed to create a theatre that remained impervious to Plato’s critiques. The article analyzes Brecht’s achievements in epic theatre as an expression of disenchantment, demonstrating how, through the techniques he developed, he radically dismantled the magical effect that was essential to Aristotelian theatre. (shrink)

This article sketches what is required of a world picture (religious or nonreligious) that is intended to provide orientation in the world for ongoing human life today. How do we move from conceptions and theories prominent in the modern sciences—such as cosmic and biological evolution—to an overall picture or cosmology which can orient us for the effective address of today's deepest human problems? A biohistoricalconception of the human is proposed in answer to this question.

The Green Revolution is often seen as epitomising the dawn of scientific and technological advancement and modernity in the agricultural sector across developing countries, a process that unfolded from the 1940s through to the 1980s. Despite the time that has elapsed, this episode of the past continues to resonate today, and still shapes the institutions and practices of agricultural science and technology. In Brazil, China, and India, narratives of science-led agricultural transformations portray that period in glorifying terms—entailing pressing national imperatives, (...) unprecedented achievements, and heroic individuals or organizations. These “epic narratives” draw on the past to produce meaning and empower the actors that deploy them. Epic narratives are reproduced over time and perpetuate a conviction about the heroic power of science and technology in agricultural development. By crafting history and cultivating a sense of scientific nationalism, exceptionalism, and heritage, these epic narratives sustain power-knowledge relations in agricultural science and technology, which are underpinned by a hegemonic modernization paradigm. Unravelling the processes of assemblage and reproduction of epic narratives helps us make sense of how science and technology actors draw on their subjective representations of the past to assert their position in the field at present. This includes making claims about their credentials to envision and deliver sustainable solutions for agriculture into the future. (shrink)

Studies of early mythography have stressed the dependent relationship between the so-called logographers and epic archaic poetry. Better knowledge of archaic and classical mythography in recent years has provided more accurate details of the context of the production and purposes of the fragmentary works by Hecataeus, Acusilaus, Pherecydes and Hellanicus. Each of them has his own agenda and programme, which have to be explained within their context and not, from a purely historic-literary perspective, as an appendix, a continuation or (...) an exegesis of the epic tradition. This article argues that conditions of preservation, and means of transmission, of fragmentary mythographers have shaped the way we approach them. In other words, the process of reception of epic poetry through the exegetic and grammarian tradition distorts our view and leads the modern reader to see mythography as being dependent on Homer or Hesiod. (shrink)

Sexual competition in the epics is looked at for examples of conflict between older or more powerful males and younger or subordinate males over fertile females, a pattern that would have characterized the human environment of evolutionary adaptation (EEA). In the Iliad and Odyssey, the Old Testament, the Arthurian Cycle (and its Celtic originals), the Volsunga Saga, and El Cid, this pattern is found to be the frame or prime mover or a central feature of the narrative. It is suggested (...) that changes through time in the literary treatment of the theme reflect a progressive dilution of the traditional power of older males over mate choice. (shrink)

The epic, one of the oldest forms of poetic expression, came into being and evolved in time immemorial, long before the appearance of writing - the advent of which, while helping to fix oral traditions since the dawn of history, has at the same time sapped these traditions of their freshness. Not until methods of recording and reproduction were perfected was the oral epic restored to its full compass as a work of enduring dimensions.

Epic Tales from Ancient India: Paintings from the San Diego Museum of Art. Edited by Marika Sardar. San Diego: San Diego Museum of Art, 2016. Pp. 164. $45. [Distr. by Yale Univ. Press.].

Resumen El artículo se centra en el poema Seudoaraucana de Elvira Hernández (2010; 2017) a partir de la reescritura como recurso articulador de una mirada descentrada y amplificada del texto fuente, La Araucana de Ercilla y Zúñiga. Como hipótesis se plantea que la reescritura discute fenómenos sociales vinculados con las fisuras de la nación chilena y los procesos políticos de la actual coyuntura. Como objetivo, se busca establecer un diálogo con la tradición y el campo literario en torno a la (...) épica, por un lado, y con las reconsideraciones críticas acerca de la imaginación poética de la historia, por otro. Abstract The article focuses on the poem Seudoaraucana by Elvira Hernández (2010; 2017) based on the rewriting as an articulating resource of an off-center and amplified look at the source text, La Araucana de Ercilla y Zúñiga. As a hypothesis, it proposes that the rewriting discusses social phenomena linked to the fissures of the Chilean nation and the political processes of the current situation. As an objective, it tries to establish a dialogue with the tradition and the literary field around the epic, on the one hand, and with critical reconsiderations about the poetic imagination of history, on the other. (shrink)

Enough and too much has been written about the Epic Cycle. Upon scanty quotations and a jejune epitome a tedious literature has been built. The older writers, such as Welcker, tried to ‘reconstruct’—as profitable and satisfying a task as inferring a burnt manor-house from its cellars; later scholars have gone out in tracing the tradition of the poems through the learned age of Greece—a scaffolding without ties, by which this or that conclusion is reached according to temperamental disposition to (...) this or that fallacy. I do not intend to enter more than is needful into a controversy where so far as I can see everyone has gone beyond the evidence. If I add to the bulk of the literature, it is in the hope of putting things in their proper places and of presenting the data as they appear to a future editor. (shrink)

This collection of essays sheds new light on the relationship between two of the main drivers of intellectual discourse in ancient Greece: the epic tradition and the Sophists. The contributors show how throughout antiquity the epic tradition proved a flexible instrument to navigate new political, cultural, and philosophical contexts. The Sophists, both in the Classical and the Imperial age, continuously reconfigured the value of epic poetry according to the circumstances: using epic myths allowed the Sophists to (...) present themselves as the heirs of traditional education, but at the same time this tradition was reshaped to encapsulate new questions that were central to the Sophists' intellectual agenda. This volume is structured chronologically, encompassing the ancient world from the Classical Age through the first two centuries AD. The first chapters, on the First Sophistic, discuss pivotal works such as Gorgias' Encomium of Helen and Apology of Palamedes, Alcidamas' Odysseus or Against the Treachery of Palamedes, and Antisthenes' pair of speeches Ajax and Odysseus, as well as a range of passages from Plato and other authors. The volume then moves on to discuss some of the major works of literature from the Second Sophistic dealing with the epic tradition. These include Lucian's Judgement of the Goddesses and Dio Chrysostom's orations 11 and 20, as well as Philostratus' Heroicus and Imagines. (shrink)

J.G.A. Pocock has been a dominant force in the history of political thought since his first major work, The Ancient Constitution and the Feudal Law, was published in 1957. This article is focused on the contribution he has made to the study of the revolutions of seventeenth-century England and the extraordinary body of political discourse to which they gave rise. It begins with an examination of the ways in which ideas about continuity, innovation, institutions and historiography have shaped his approach (...) to the history of political thought and their application to seventeenth-century conditions. Central to a fundamental continuity in his ideas over the last five decades have been notions about the interface of 'paradigms' with both language and socio-political circumstance in the construction and deconstruction of both historiographies and political theories. The article then offers a critical assessment of his contribution to our understanding of the English Revolution. (shrink)

This paper pursues precise information on the use of the Sanskrit word buddhi, “the intellect,” in the context of epic adhyātma discourse. The term buddhi makes its debut in this genre of discourse in texts of the Mahābhārata’s Mokṣadharmaparvan before going on to become a central term of classical Sāṃkhya philosophy. This paper examines closely the presence and role of the “intellect” in the argument of the Manubṛhaspatisaṃvāda, a text that is unusually rich in its theorizing and description of (...) the intellect. But this text is not primarily about the intellect, even if that organ plays a prominent role in the three main phases of the text’s teaching. The Manu-Bṛhaspati is a major, deliberately constructed body of teaching on ethics, ontology, and psychology, and what it says regarding the buddhi is embedded in those teachings, usually, but not always, incidentally. This paper tries to grasp those teachings in their particular idiom and present Manu’s teachings on the buddhi in the natural progression and settings of the overall argument. A number of points comparing the buddhi in this text to the adhyātma text-pair of MBh 12.187/239–41 are made and a striking contrast between Manu’s buddhi and the ‘saving buddhis’ of the early Mokṣadharma is discussed briefly. The main points regarding the buddhi in Manu’s teachings turn out to be: First, and most importantly, the buddhi has the ability not only to see and “resolve” current sensory experience coming from the senses and the mind, but to store those sensations and re-arrange and re-interpret them outside of ‘real time’. This ‘trans-temporal depth’ of the buddhi may be the reason for the second major fact about it, that the buddhi is the locus in a person from which that person’s residual energy from past deeds operates; the buddhi transmits that energy and its qualitative differentiations into the mind and the senses, entities that derive from it and operate “below” it. Third, the buddhi’s ability to select and arrange past perceptions and imagine not previously observed arrangements among them is the source of its fatefully erroneous substitution of the immediately present, phenomenal self of experience for the transcendent true Self. Fourth, the buddhi’s ability to imagine and re-interpret experience makes it the principal faculty for determining the truth of things that are not immediately apparent to the senses. Establishing the existence of the transcendent soul is the most important such truth, for that serves as the foundation for one’s eventually coming to see the true Self. Fifth, the buddhi works with the main perceptual organ, the mind, to clarify and then neutralize the operation of the senses, allowing yoga meditation to go forward. In the course of yoga meditation, when the buddhi is emptied of karma energy, the buddhi becomes “tantamount to the manas” and the ultimate reality is “seen, as if it were a streak of gold on a touchstone,” undoing the buddhi’s fateful error. Sixth, a point stressed in several places in the text, is that the entire embodied soul, which is basically led by the buddhi, is tremendously energetic in its rush down to the physical reality. It is not clear whether some of this energy is part of the original emanation of the principle of the embodied soul from the Absolute, but it is clear that some of it is the energy of karma stored in the “intellect.”. (shrink)

The author deciphers Nietzsche's most enigmatic work as Zarathustra's epic campaign to save secular culture from degradation in the godless world. In this epic reading, the ostensibly atheistic work turns out to be a profound religious text. This revelation is breathtaking and edifying.

An award-wining biologist takes us on the dramatic expeditions that unearthed the history of life on our planet. Just 150 years ago,most of our world was an unexplored wilderness.Our sense of how old it was? Vague and vastly off the mark. And our sense of our own species’ history? A set of fantastic myths and fairy tales. Fossils had been known for millennia, but they were seen as the bones of dragons and other imagined creatures. In the tradition of The (...) Microbe Hunters and Gods, Graves, and Scholars, Sean Carroll’s Remarkable Creatures celebrates the pioneers who replaced our fancies with the even more amazing true story of how our world evolved. Carroll recounts the most important discoveries in two centuries of national history — from Darwin’s trip around the world to CharlesWalcott’s discovery of pre-Cambrian life in the Grand Canyon; from Louis and Mary Leakey’s investigation of our deepest past in East Africa to the trailblazers in modern laboratories who have located a time clock in our DNA. Join him in a rousing voyage of discovery, from the epic journeys of pioneering naturalists to the breakthroughs making headlines today. (shrink)

In antiquity, works of culture, created by the Greek-Roman people, passed centuries, the test of centuries and reached our era. Many samples of European literature, born in the Modern Age, have long been forgotten, and unique works, such as the Homeric epic and the tragedies of Sophocles, have been translated again and again, always bringing spiritual energy and aesthetic pleasure to readers’ hearts. Homer was unique among the poets of that time, and indeed the supposed author of the Iliad (...) and the Odyssey must undoubtedly be one of the world's greatest literary artists. The two epics formed the basis of Greek education and culture throughout the classical era and laid the foundation of human education up until the time of the Roman Empire and the spread of Christianity so this is proof that Homer is also one of the most influential authors in the broadest sense. The article reveals the ideological and artistic features of the ancient Greek poet Homer’s poems “Iliad” and “Odyssey”. The authors of this article analyze the thematic, ideological, and artistic features of these epic works. The methodological basis of the work is the principle of historicism, which contributes to the objective study and evaluation of literary phenomena in the process of evolutionary development. The scientific article uses a traditional set of analysis methods: typological, systemic, and comparative. (shrink)

A distinctive feature ofAeneid8 is the constant interplay and fluctuation of registers, with high epic and thegenus grandealternating with the lighter strains or learned allusions associated with thegenus tenue. As one commentator has remarked, ‘Man darf das Buch allein schon wegen seines Reichtums an Aitien als das ‘kallimacheischste’ derAeneisbezeichnen.’ Beyond the emphasis on aetiology—the Cacus myth in particular is presented asaitionfor the consecration of the Ara Maxima—the Callimachean complexion comes out also in several smaller not-so-serious or learned touches, typically (...) at unlikely moments to infuse an element of humour in an otherwise intensely dramatic narrative. The Hercules–Cacus episode conflates high drama and low comedy as the cattle rustler's slightly ridiculous stratagem becomes a gigantic clash resonating with the primal gigantomachy. Among the rudimentary weapons of mass destruction unleashed by Hercules upon Cacus (omniaque arma|aduocat et ramis uastisque molaribus instat, 8.249-50), the hapaxmolaris(massive boulder, lit. millstone) echoes its Homeric equivalent μύλαξ (Il. 12.161), itself a hapax, with the recherché term then reappearing (again as hapax) at Ovid,Metamorphoses3.59: missiles and diction are equally outlandish. When Hercules in a reprise of the celebrated Empedoclean leap plungesper ignemin pursuit of Cacus (8.256-8), an (incongruous) evocation of the Sicilian philosopher's fiery exit adds a touch of comedy at the heated moment. And from this inferno Virgil moves to Olympus, lowering the tone but raising the temperature as Venus in a domestic comedy seduces the uxorious Vulcan into preparing new armour for Aeneas: now she kindles flames of a different sort in the fire-god (8.388-92, 8.404-6) in a scene marked by witty double entendre that provides a playful contrast with the unfolding drama at Pallanteum. At moments like these, a lighter strain is audible through the epic thunder,Vergilius ludensis hard at work (or play). (shrink)

The Homeric epics are among the greatest masterpieces of literature, but when they were produced is not known with certainty. Here we apply evolutionary-linguistic phylogenetic statistical methods to differences in Homeric, Modern Greek and ancient Hittite vocabulary items to estimate a date of approximately 710–760 BCE for these great works. Our analysis compared a common set of vocabulary items among the three pairs of languages, recording for each item whether the words in the two languages were cognate – derived from (...) a shared ancestral word – or not. We then used a likelihood-based Markov chain Monte Carlo procedure to estimate the most probable times in years separating these languages given the percentage of words they shared, combined with knowledge of the rates at which different words change. Our date for the epics is in close agreement with historians' and classicists' beliefs derived from historical and archaeological sources. (shrink)

Scholars have traditionally interpreted Hipponax fragment 128 as an epic parody designed to belittle the grand pretensions and gluttonous habits of his enemy. I suggest, however, that this traditional reading ultimately falls short because of two unexamined assumptions: that the meter and diction of the fragment are exclusively meant to recall epic narrative and not any other early hexametrical genre, and that the descriptive epithets in lines 2 and 3 are the ad hoc comic creations of the poet (...) and simply refer to the table manners of a glutton or a parasite. I argue instead that this fragment in several ways reflects the language, the meter and the performative goal of hexametrical chants or incantations designed to expel harmful famine demons or to escort human scapegoats from the city. I also suggest that the vivid and somewhat comic descriptions of the enemy in fragment 128 probably do not aim at his personal eating disorders, but rather they are drawn from two interrelated and generic features of archaic Greek thought: a tradition of describing famine-demons as insatiable eaters, and a popular theme in Greek invective which demonizes political enemies as rapacious pests who threaten to gobble up the commonwealth of the city and who therefore must be expelled from the community, precisely like a famine-demon. (shrink)