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This work shows possible analysis over the text Odyssey from Nikos Kazantzakis and the Odyssey from Homer, both analysis developed under the Digital Humanities discipline that merge the text interpretation ideas from the humanities with the computational algorithms used for numerical purposes applied to both texts. This kind of analysis detects words and phrase patterns that can provide new insights on the current analized text or potentially others. Results are shown using heat maps applied to the animal appearances on both Odissean works using computational techniques to illustrate the visual and numerical interpretative potential. This exploration is driven by two starting questions: how are the animals represented in the Kazantzakis Odyssey? and which are the adjectives more often used? [ABSTRACT FROM AUTHOR]

This article explores the image of Penelope in Nikos Kazantzakis' Odyssey, paying special attention to the way her figure contrasts with Odysseus, as can be seen in the first two rhapsodies of the work. Bearing in mind the radical game of identity and difference that the Cretan writer has made on the legacy of Homer, we will finally observe how in this fragile, blurred and even ruined Penelope it hides, despite everything, a key question of the Kazantzakian text, namely: the strangeness, place of disagreement that moves the modern hero to throw himself on the journey again, this time without return. [ABSTRACT FROM AUTHOR]

Anticlea figure in the Odyssey has a much smaller presence in the Homeric poem as in the Aeneid. Only we know by its shadow, speaking to Ulysses at rhapsody XI. And Anticlea in the Kazantzakis's Odyssey also has a minimal presence. With emotion evokes Odysseus in a dream in which the mother appears in moments of agony. But he does not speak; his son supposes that she says certain words. And near the end of his pilgrimage, at rhapsody XXIII, Odysseus briefly evokes his young mother, when she is nursing him. [ABSTRACT FROM AUTHOR]

Los personajes de Homero parecen participar de la inmortalidad de la poesía homérica. Helena especialmente se nos muestra inmortal no sólo en la tradición literaria occidental, sino también en nuestra conciencia que la identifica con la perennidad de la belleza. Mientras los antiguos tuvieron a Helena por divinizada y, por lo tanto, ascendida a la inmortalidad, Kazantzakis, el poeta neogriego que retomó el viaje de odiseo, le da la muerte que no le dio Homero.Homer's characters seem to partake of the immortality of Homeric poetry. Especially Helen shows herself not only immortal in the Western literary tradition, but also in our consciousness that identifies with the survival of beauty. While the ancients thought Helen to have been deified and thus ascended to immortality, Kazantzakis, the modern Greek poet who resumed the journey of Odysseus, gives her the death that Homer gave not to her.

Estudio aborda, por una parte, la cuestión de sí la Odisea de Kazantzakis puede ser calificada de epopeya y si la epopeya es un género de otras épocas y realidades, y, por otra parte, en el supuesto que pueda calificarse de epopeya, qué rasgos especiales presenta como tal. Empezando por el análisis del "Prólogo", en el que se reemplaza la tradicional invocación a la Musa por una invocación al sol, se comprueban una serie de elementos que muestran una continuidad clara con los elementos correspondientes déla Odisea homérica. Especial importancia reviste el tema de la identidad de Odiseo, la cual, a especialmente a través de las dos primeras rapsodias, queda plenamente reafirmada. En la caracterización que hace la autora del poema moderno, es de destacar la conjunción en este texto de los elementos apolíneo y dionisíaco.This article studies the question of whether Kazantzakis' Odyssey can be called an epic and whether an epic is a genre of other times and realities, and, on the other hand, supposing it can, which special features it displays as such. Beginning with the analysis of the "Prologue", which replaces the traditional invocation to the Muse by an invocation to the sun, a series of elements which show a clear continuity with the corresponding elements of the Homeric Odyssey are studied. The theme of Odysseus' identity is specially important, because it is wholly reaífirmed in the first two rhapsodies. The characterization made by the author of the modern poem highlights the conjunction in this text of the Apollonian and Dionysian elements.

Odiseo llegó a Itaca en el texto de Homero y también en la Odisea moderna. En realidad, ya había llegado ya cuando se inicia el nuevo poema. Itaca conserva la simbología que tuvo en el texto homérico, pero adquiere un nuevo rol. En la isla, Odiseo reafirma su identidad: es el mismo héroe que participó en la guerra de Troya y después luchó contra adversidades y tentaciones durante diez años, sin perder la voluntad de retornar a la tierra y al hogar. Reconoce su territorio, sepulta a su padre, casa a su hijo. Pero, además, ahora es el punto de partida. Desde ella sale Odiseo en el nuevo viaje, acaso más largo que el antiguo y sin regreso. La isla amada sigue siendo la isla amada. Amándola, la deja el antiguo héroe. Y en su larguísima travesía hacia la muerte en los hielos antarticos, la recuerda no pocas veces.Odysseus reaches Ithaca in the Homeric text and also in the modern Odyssey. He had really reached there when the new poem begins. Ithaca preserves the symbology which had in the Homeric text, but it acquires a new role. In the island, Odysseus reaffirms his identity: he is the same hero who participated in theTrojan war, fought against adversities and temptation for ten years, without losing the will to return to his land and home. He recognizes his territory, buries his father and accompanies his son in the latter s wedding. Now it is also the point of departure: Odysseus sails from it in a new voyage, perhaps longer than the previous one and with no return. The beloved island remains as such. Loving it, the hero abandons it. In his very long voyage to death on he Antarctic ices he often remembers it.

Este trabajo contribuye a establecer una perspectiva histórica de la singular línea de aparición que fue teniendo la obra del escritor griego fuera de Europa. Se destacan algunos episodios que tienen que ver con sus obras traducidas y Sudamérica.This article is a contribution to the establishing of a historical perspective of the singular line of appearance which the work of the Greek Writer had outside Europe. Several episodes which are related to the translations of his works and South America are highlighted.

The expression of sadness and pain with tears is a characteristic of human beings. In the Homeric poems the warriors cry. Among them, Odysseus. This feature also appears in the hero in the Kazantzakis' Odyssey. This paper presents some of the moments when the emotion of the character is manifested in tears. [ABSTRACT FROM AUTHOR]

this paper approaches the construction of an ideal city in Nikos Kazantzakis' Odyssey, a 20th century epic poem which rewrites and continues that of Homer. In doing so it focuses on utopian literature patterns. In the XV book of this Odyssey and after a long way through the desert, the hero is about to build an ideal city, more righteous, more equal, where the crowd of people following him can reach and overpass its human destiny. On its very opening date, the great work will be destroyed by an earthquake and the hero will have to start his way on his own again. In the configuration of the failed utopian society which Kazantzakis' proposes the models taken from the ideal cities of Plato and Thomas More, as well as the nietzscheanian thinking, the sociocultural context and the historic circumstances of the 20th century play a determinant role. [ABSTRACT FROM AUTHOR]

Summary: Homer's characters seem to partake of the immortality of Homeric poetry. Especially Helen shows herself not only immortal in the Western literary tradition, but also in our consciousness that identifies with the survival of beauty. While the ancients thought Helen to have been deified and thus ascended to immortality, Kazantzakis, the modern Greek poet who resumed the journey of Odysseus, gives her the death that Homer gave not to her. [ABSTRACT FROM AUTHOR]

Odysseus reaches Ithaca in the Homeric text and also in the modern Odyssey. He had really reached there when the new poem begins. Ithaca preserves the symbology which had in the Homeric text, but it acquires a new role. In the island, Odysseus reaffirms his identity: he is the same hero who participated in the Trojan war, fought against adversities and temptation for ten years, without losing the will to return to his land and home. He recognizes his territory, buries his father and accompanies his son in the latter's wedding. Now it is also the point of departure: Odysseus sails from it in a new voyage, perhaps longer than the previous one and with no return. The beloved island remains as such. Loving it, the hero abandons it. In his very long voyage to death on he Antarctic ices he often remembers it. [ABSTRACT FROM AUTHOR]

This article studies the question of whether Kazantzakis' Odyssey can be called an epic and whether an epic is a genre of other times and realities, and, on the other hand, supposing it can, which special features it displays as such. Beginning with the analysis of the “Prologue”, which replaces the traditional invocation to the Muse by an invocation to the sun, a series of elements which show a clear continuity with the corresponding elements of the Homeric Odyssey are studied. The theme of Odysseus' identity is specially important, because it is wholly reaffirmed in the first two rhapsodies. The characterization made by the author of the modern poem highlights the conjunction in this text of the Apollonian and Dionysian elements. [ABSTRACT FROM AUTHOR]

The island of Crete, birthplace of Kazantzakis, marks the writer in his life and work. In the Odyssey, his major creation summit, the island is portrayed like a poetic vision, with some of most beautiful verses of the poem. Crete is, also, the setting of four rhapsodies. It is the place where Helen finds his final way and where Ulysses takes the side of the opressed and destitutes. There he has an active participation in a revolution to overthrow king Idomeneus and to destroy the established order, a tyrannic and corrupted regime. The Cretan land, which appears in other important works of Kazantzakis (Alexis Zorbas, Freedom or death and Letter to the Greco, is seen like the field in which one of Odysseus most significant actions takes place; where the routes of the poem's two more important characters are defined: Ulysses and Helen. [ABSTRACT FROM AUTHOR]

The analysis of Kazantzakis' treatment of female characters in his work does not reveal a positive attitude towards them. In Penelope's case, the appearances of Ulysses' famous wife are clearly negative. In Broken Souls, 1908, a youth work, Penelope is not a character of the work itself, but is seen in a picture by Gustave Moreau. She is described as she appears in the painting, i.e. as an immoral and lecherous being. In the dramatic work Odysseus, 1922, the old Penelope decides to marry, allegedly under orders from Aphrodite. However, the truth is that she is disguising her own desire, which is focused on the beautiful suitor Eurimachus, as if it were an act of obedience to the goddess. She is not portrayed as a faithful and truthful woman. In the Odyssey, 1924-1938, the dark image of an already faded and timorous woman contrasts with that of the husband, who arrives strong, graceful and triumphant. The woman, who does not act nor speak, but only cries, shows also a contrast to the female images of the time at which the poem was written, a time of great advacne to equality for women. [ABSTRACT FROM AUTHOR]