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The construction of Hector as an attractive figure for the audience of the Iliad is a well-studied topic in criticism. Different hypotheses and elements contributing to this effect have been given, but there is clear agreement that the hero, particularly among the Trojans, is one of the most sympathetic to the audience throughout the poem. This paper sets out to study the hero’s speeches and their attunement with the feelings and opinions of the audience, and in general with the emotional tone of the different moments of the poetic performance. We hypothesize that, as Hector's tragedy unfolds, the relationship between the perception of events manifested in the hero’s words and that of the audience becomes increasingly conflicted, a process that is reversed at the moment when the imminence of his death becomes clear to the character. Thus, we will attempt to demonstrate that the audience’s identification with Hector is not a simple, linear phenomenon, but is manipulated by the poet to generate expectations and anxiety in the audience in order to retain their attention to the epic spectacle. [ABSTRACT FROM AUTHOR]

Destiny in Iliad is a problem that has been reviewed from a myriad of approaches. Fate meaning weaving, death, equitable apportionment, more or less fixed sequence of events to occur, abstract force or distinct religious entity. In this paper we consider the possibility that the numerical uses within the poem function as a narrative and symbolic resource announcing the forces of Fate, relating and comparing the concepts of "Number" and "Moira", while accounting for the asymmetries and symmetries present in the poem. [ABSTRACT FROM AUTHOR]

Copyright of Gerion: Revista de Historia Antigua is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Filosofía UIS is the property of Universidad Industrial de Santander and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article we establish the necessary context and theoretical framework for an analytical approach to the use of number symbolism in the Iliad, setting us apart from the critical tradition of the poem which considers number as a purely quantitative resource. We will also catalogue two distinct numerical sequences to seek how their use could affect the course of action within the Homeric work. [ABSTRACT FROM AUTHOR]

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Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Tópicos is the property of Asociacion Revista de Filosofia de Santa Fe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ágora: Estudos Clássicos em Debate is the property of Agora: Estudos Classicos em Debate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to study the translational strategies to address the problem of repetition in the translation of Homeric poetry, specifically that of the Iliad. Although repetition is a fundamental stylistic feature in any text, in Homeric formulaic language it is a constitutive feature, which is not (only) used as a literary device but permeates the poetic expression in all its forms. Therefore, analyzing and understanding the strategies that translators have used to reproduce this aspect in Spanish is a key element in the study of Homeric translation, and a fundamental basis for further work in both translation analysis and translation itself. For this article, a restricted corpus of three translations (Segalá y Estalella, Crespo Güemes, Pérez) has been selected and three different modalities of repetition are analyzed: complete passages of several verses, formulae, and a recurrent expression. [ABSTRACT FROM AUTHOR]

The prologues of the poems of the archaic Greek epic contain traits of rituality and knowledge that indicate the pattern of creation, emission and reception of the themes and topics that the Iliad, the Odyssey, the Theogony and Works and Days deal with respectively. Such traits are part of a ritual through which a line of emission and reception is drawn that begins with the invocation to the Muse made by the poet, who acts as a mediator between the divine and the human world. In this sense, the article exposes some elements of rituality in the prologues of the poems of Homer and Hesiod that focus on the subject matter and mark the link between the Muse, the poet and the audience, specifically pointing to the topic of knowledge. [ABSTRACT FROM AUTHOR]

The study of the Byzantine metaphrases of Homer's Iliad has advanced too gradually in the last century, for this reason many of these rewritings continue to be unstudied today. The aim of this article is to make a first approach to one of the unpublished byzantine metaphrases of the Homeric poem. To achieve this objective, we will analyze the first book of the metaphrase starting from the manuscripts that contain it. Furthermore, the sources and the methodology of its author will be examined, as well as the importance of this metaphrase by comparing it with other rewritings of the Homeric poem. This analysis allows to conclude, firstly, that the metaphrase called bodleiana is composed of three different versions; secondly, that the author was inspired by the Iliad's scholia as a source to make his work and, finally, that this work was used for the preparation of the later rewrites. [ABSTRACT FROM AUTHOR]

Copyright of Hypnos is the property of Hypnos / Instituto Hypnos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Byzantine metaphraseis of Homer's Iliad are instruments elaborated with a common objectives and characteristics, usually works composed in prose, in Atticist or Koine language and employed in the education. However, not all these rewritings seem share those characteristics. Throughout this article we will analyse the metaphrasis composed by Constantine Hermoniakos, a poet of the Epirot court from the 14th century, and we will determine which characteristics have made of this a singular work and completely different from the other rewritings. The result of this analysis will allow, first, to know who this poet was and why he composed his rewriting and, second, to stablish and analyse the four distinguishing characteristics of the Byzantine work, that are: meter, structure and content, level of language and Christianisation of the work. [ABSTRACT FROM AUTHOR]

This article aims to explain why in Homeric narrativity, where usually nothing happens in the background, there is no suspense linked to an uncertainty about an outcome; it will link this to the so-called "Zielinski's law" (I). It will also analyse recent attempts to find suspense gaps in Homer (II). Finally, it will advance an alternative explanation for suspense, based on empathy for a given character and immersion in the narrative world (III). [ABSTRACT FROM AUTHOR]

The aim of this article is to analyze the means by which a sense of community is created in the Iliad, while focusing on the importance of action conducive to configuration of a collective identity throughout the Iliadic plot. I will to this end approach passages featuring the poet's concern about the way a political and social community is shaped, a recurring concern which structures the action in the poem. My hypothesis is that there is a clear intention on the part of the poet to approach the problem of community identity shaping, thus reconfiguring the individualistic perspective characteristic of traditional heroic epic, towards collective forms of action. [ABSTRACT FROM AUTHOR]

Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Phaos is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores aspects of what I shall call pity or compassion in Homer (especially Iliad 24) and Aristotle (especially the Rhetoric), but nothing very much hangs on the precise terminology. The phenomena covered by terms such as "compassion", "sympathy", "empathy", and "pity" (and their analogues, where they exist, in other languages) constitute a family in which resemblances are often really rather close in practice (even if particular members of the group pass in and out of fashion and take on a range of different connotations at different periods and in different contexts). In concentrating on the theory and practice of literature, I am not offering a synthetic account of ancient Greek pity; instead I focus, in the main, on just two authors, Homer and Aristotle, and proceed primarily by means of a confrontation between the representation of pity in the final book of the Iliad and the theorization of that emotion in Aristotle's Rhetoric and Poetics. I begin with Homer, but immediately bring the Homeric narrative into relation with Aristotle's account of pity in the Rhetoric. This will lead to some thoughts on the nature of pity and compassion in Homer in general, before we return to the contrast between Homer and Aristotle (with emphasis on the Poetics), a contrast that is in some ways underscored by certain differences between Aristotle and Plato on the emotional effects of epic and tragic poetry. A particular focus will be Aristotle's linkage of pity with the kind of thing that one would fear were it likely to happen to oneself, by contrast with the connection in Homer and Plato between pity for others and the experience of grief, both one's own and that of others. [ABSTRACT FROM AUTHOR]

Copyright of Historia 396 is the property of Pontificia Universidad Catolica de Valparaiso, Instituto de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hypnos is the property of Hypnos / Instituto Hypnos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The origin of lyrical compositions in Classical Greek Literature is often explained by using as initial testimony passages from the Iliad, which refer to a paian (I.472), to a hymenaios (XVI.182) or to danced songs (XVIII.560-570 and 590-605). The aim of the present article is to analyse three passages in which it is possible to explore, within the Odyssey, the play of a performance of choral lyric discourses flowing under the coercion of the epic format. We address Penelope's lament in book 4.722-734, the presence of a parthéneion setting in book 6.99-109 and the version of thrênos singed by the Muses at the funeral for Achilles in book 24.58-62. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to discuss how the tension between the destruction of war and the experience provided by musical activities or, mythopoetically, to the sphere of the Muses (mousiké), permeates Iliad 18, culminating in the narration of the forging of Achilles' new shield by Hephaestus. The main passages discussed are the meeting of the Nereids as a khóros that participates in Thetis' lament for Achilles the way Achilles conceptualizes his former set of weapons and some of the aspects highlighted in the actual meeting of Thetis and Hephaestus. As for the Shield, in addition to tracking the tension between destruction and mousiké that pervades it, it is shown how this tension helps to clarify two sets of problematic verses, 535-38 and 604-5. [ABSTRACT FROM AUTHOR]

Socrates is portrayed as a Homer-lover in Plato's dialogues, both explicitly through his expression of love and respect for Homer since his childhood (Republic 595b9-10) and implicitly through his numerous Homeric quotations and references. Similarly, Socrates frequently uses Homeric references in the dialogues that Xenophon wrote to preserve his memories. The comparative study of these authors so far suggests that the historical Socrates did use Homer often in his conversation. However, we should also consider whether that portrait matches the Socrates depicted in Aristophanes' Clouds, a more contemporary source than Plato and Xenophon's works. This paper examines the portrayal of Socrates in the Clouds and argues that here, too, we can find a reflection of his love of Homer, especially in his invocation of the Clouds in lines 265-74. It will also consider how that portrayal of Socrates can affect our view of Socrates. [ABSTRACT FROM AUTHOR]

In this work, it is observed the relations and differences about conjugal love present in the works of Homer and Hesiod, positioning the dialectic philía and éros as frames of analysis, observing the pre-eminence of these, through a work of comparative tables, valuing the socio-historical contexts of each, that is, the aristocratic environment in Homer and the villager atmosphere in Hesiod. The aim is to expose the ideas and singularities that each author expressed and how their context took part in this view of conjugal love, considering each one as valuable in itself. The analysis approach moves from historical anthropology, emphasizing ritual and religious components. A more individualistic and coercive tendency could be seen in the writings of the author from Ascra, as well as a more harmonious and a style a little more symmetric in Homer. [ABSTRACT FROM AUTHOR]

Copyright of Lemir is the property of Universitat de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Ágora: Estudos Clássicos em Debate is the property of Agora: Estudos Classicos em Debate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tábano is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Within the collective imagination of the ancient world, Thanatos was the God of Death, son of Nix, the Night, and Erebus, the Darkness of Hades. The identification of the main literary and iconographic sources bequeathed by the Classical World about Thanatos allows both the establishment of essential figurative types and, together with them, the deciphering of some of the keys related to the conception of life and death that both the Greeks and the Romans had. Together with his brother, Hypnos, The Sleep, Thanatos was responsible for the preliminary stage to the journey of the deceased to the afterlife. Both of them moved the defunct, in body and soul, from his death-place to where the funeral rites were going to be celebrated. There the body would be consumed by the fire and the soul would commence its journey to The Hades, first driven by Hermes and then by Charon. Most of the iconographic examples of God Thanatos that have been identified correspond to Greek, Etruscan and Neoclassical art. Obviously, for the most part, they are works related to funerary environments. Literary sources and the iconography of Thanatos are analyzed in relation to his divine genealogy, as described by Hesiod in the Theogony; the myth of the transfer of Sarpedon´s corpse from the place where he died to the place where he was honored, as it appears in Himer´s Iliad; and the treatment of Thanatos in the tragic poets. [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]

In this article we intend to trace Homeric references within Xenophon's Anabasis, in order to prove the Historian constructs an Epic text in which he immortalizes his own exploits among Persians and compares himself with the hero Odysseus. I also consider other works of Xenophon as Banquet, Memorabilia and Apology, since there he describes the poems of Homer as an essential part of his own Greek culture in iv Century. Among the main sources I have consulted, ancient and modern, are Homer, Christos Tsagalis and Emerson Cerdas. And while Naoko Yamagata founds only one Homeric reference in Anabasis, I find two direct references and several indirect references which allude to the hero and to certain situations in Odisea Xenophon similarly faced. [ABSTRACT FROM AUTHOR]

Copyright of Rónai - Revista de Estudos Classicos e Tradutorios is the property of Ronai - Revista de Estudos Classicos e Tradutorios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Héctor Tizón's narrative work includes, from his first novel published, Fuego en Casabindo (1969), the ascription to the Homeric tradition, encoded in the citation, as an epigraph, of a fragment of Odyssey (11, 216-224), enunciated by Anticlea, who reveals to his son what happens to human beings when they die. At the same time, it incorporates into the narrated world the traditional songs and folk tales, the myths and beliefs of the northwest region of Argentina. Eschatology is one knowledge that articulates these cultures so distant in time and space. is article maintains that the Greek motif integrated into the novels is not a secondary component. Rather, the eschatological motif establishes the narrative matrix and shapes the novel structure, while providing significant elements for the interpretation. [ABSTRACT FROM AUTHOR]

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Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Homer did not yet have awareness of any idea denoting the psychic whole, or of any concept that might correspond to our word 'soul'. [ABSTRACT FROM AUTHOR]