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The purpose of the article is to present the role and significance of Hesiod's poetry for the formation and development of the moral canon and the moral-philosophical thought of ancient Greece. For this purpose, the text traces and analyzes various biographical information, comments and evaluations about Hesiod's life and work. Special attention is given to the uses and meanings of the world ethos by Homer and Hesiod and their evolution under the influence of Hesiod's moral maxims (gnomes) in „Wor s and Days “. The ain conclusion is that Hesiod's individualized, systematic and rational reading of archaic myths played a decisive role in the transition from myth to logos and the formation of the moralphilosophical views of ancient Greece about the happy life, the good person and the ideal state. [ABSTRACT FROM AUTHOR]

The primary objective of this article is to elucidate that a comprehensive understanding of Greek political thought necessitates an examination of its origins in Ancient Greece. Traditional scholarship in Greek political thought has typically assumed that it originated concurrently with philosophy and the establishment of the polis. In this research, drawing upon the visions of Eric Voegelin and Leo Strauss, we endeavor to establish a refined definition of political thought while challenging the aforementioned conventional assumption. It is argued that political reflection remains intimately intertwined with the theological-mythological beginning of thought in Greece. This theological-mythological mode of thinking initially found expression in the works of Homer and Hesiod, with these poets serving as the foremost intellectual authorities and initial educators of the Greeks. The Greeks, in their self-perception, viewed themselves through a lens of religion and in the mirror of gods and divine forces. Consequently, any exploration into Greek political thought must acknowledge the works of these poets as the seminal intellectual foundations of Greek thought. It is imperative to recognize that political thought in Ancient Greece did not commence with philosophy or the emergence of the polis, but rather with poetry and a distinct form of religiousmythical experience, namely theologia-muthologia. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 essay "Burying the Heroes: Identifying the Archaeological Background of the Homeric Burial" by Antonis Kourkoulakos discusses the historical and cultural significance of Homeric burial customs. The author argues that Homeric burial customs are the result of a mixture of traditions, contemporary customs, and collective memory. By examining archaeological findings and written sources, possible origins of Homeric burial customs are proposed. It is noted that burial practices in Anatolia show similarities to Homeric traditions, particularly regarding cremation and the use of urns. There are also similarities between the burial tradition in the Iliad and archaeological findings in Greece, the Aegean, and the Balkans. It is speculated that these similarities could indicate a connection between the Mediterranean and Central European regions. The western Balkan region appears to have been the area where the tumulus tradition originated and spread over a large area in the following centuries. Therefore, the epics are not only a marvel of early Greek poetry, but rather an example of the first truly "European" (and indeed Anatolian) literary work. [Extracted from the article]

Copyright of Colloquia Humanistica is the property of Polish Academy of Sciences, Institute of Slavic Studies 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 Iliad is an epic poem chronicling the journey of Achilles in the Trojan War. The poem is one of the earliest sources of written literature in the Western canon. It is not a medical text, but the many and varied descriptions of injuries and their consequences mean that it is an important source for examining the earliest notions of anatomy and knowledge of the pathologies that result from trauma. Head injuries feature prominently in the text and represent written accounts of neurotrauma from nearly 3000 years ago. Previous work on the poem has suggested an awareness of neurological concepts such as nystagmus, syncope, and pupillary dilatation after trauma. In this paper, we identify and categorize all of the head injuries detailed in the text and examine these to identify concepts of functional neuroanatomy that are revealed by the descriptions. We identify and discuss 2 detailed descriptions of head injury, suggesting an awareness of decerebrate posturing after brainstem injury and cerebrospinal fluid leakage following a basal skull fracture. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

In 2015, an intaglio gem was discovered in Pylos (Messenia, Greece) from the beginning of the Late Bronze Age with a scene of two warriors in combat. This representation is part of a group of similar images on seals. The analysis of these objects allows the suggestion that the scenes depicted on them are based on the same story/myth. This story helped to build the ideology of the Mycenaean elites based on, among other things, the use of violence in social life and set patterns of behavior, while at the same time linking the Mycenaeans living in different parts of Greece, especially in Mycenae, Pylos and Vapheio. Perhaps it had an epic dimension similar to Homer's much later work. [ABSTRACT FROM AUTHOR]

In this article Dmitry Trubotchkin focuses on Homer's Iliad as directed by Stathis Livathinos and premiered in Athens on 4 July 2013 as part of the Athens and Epidaurus Summer Festival – as far as is known, the first production of the complete Iliad in world theatre. It was performed by fifteen actors, each of whom played several roles and also acted the role of the ancient rhapsode, or narrator of epics. Livathinos's Iliad restored the original understanding of ‘epic theatre’, which differs from what is usually meant by this term in the light of Brechtian theory and practice with its didactic and distancing emphases. In the Greek performance, the transformation of an actor from one role to another and from acting to narration is constant, and the voice of Homer as a ‘collective author’ can be heard through all these transformations. Livathinos's Iliad may well be a landmark, indicating a new way of presenting epics on the stage. Dmitry Trubotchkin is Professor of Theatre Studies at the Russian University of Theatre Arts (GITIS) and an invited Professor at the Faculty of Arts of the Moscow State University. He heads the Department of Ancient and Medieval Art at the State Institute for Art Studies in Moscow. His publications include ‘All is Well, the Old Man is Still Dancing’: Roman Palliata in Action (2005), Ancient Literature and Dramaturgy (2010), and Rimas Tuminas: the Moscow Productions (forthcoming). [ABSTRACT FROM PUBLISHER]

From the ancient times, there are three basic approaches for the interpretation of the different psychic phenomena: the organic, the psychological, and the sacred approach. The sacred approach forms the primordial foundation for any psychopathological development, innate to the prelogical human mind. Until the second millennium B.C., the Great Mother ruled the Universe and shamans cured the different mental disorders. But, around 1500 B.C., the predominance of the Hellenic civilization over the Pelasgic brought great changes in the theological and psychopathological fields. The Hellenes eliminated the cult of the Great Mother and worshiped Dias, a male deity, the father of gods and humans. With the Father's help and divinatory powers, the warrior-hero made diagnoses and found the right therapies for mental illness; in this way, sacerdotal psychiatry was born. [ABSTRACT FROM AUTHOR]

Abstract: The potential for a 20kW photovoltaic (PV) power plant in Greece is examined in this study. HOMER software is used to predict energy production, cost of energy and reduction of green house gasses (GHGs) emissions. The long-term meteorological parameters for 46 sites in Greece being considered by the Centre for Renewable Energy Sources and Saving (CRES) are analyzed. The global solar radiation varies between a minimum of 4.04kWh/m2/day in Ioannina and a maximum of 4.89kWh/m2/day in Tymbakion, while the mean value for the 46 locations remained as 4.46kWh/m2/day. The renewable energy produced each year from the PV power plant varied between 33.35MWh in Ioannina and 41.63MWh in Tymbakion while the average value for the 46 locations is 37.61MWh. The results of the financial analysis demonstrate that a PV power plant can operate profitably at any of the considered sites in Greece. The capacity factor of a PV plant varies between 19.4% and 24.2% and the cost of electricity varies between 0.122€/kWh and 0.152€/kWh from the most appropriate location to the least attractive location respectively. Bearing in mind that the electricity cost for consumers in Greece is approximately 0.13€/kWh, the present study demonstrates that photovoltaics can play an important role in Greek energy generation. Last but not least, utilization of photovoltaics means that considerable quantity of CO2 is not released into the local atmosphere each year. [Copyright &y& Elsevier]

Francisco de Miranda (1750-1816), hero and martyr Precursor of American independence, was not only a great soldier, but a humanist. He knew Greek and Latin, met in his life a rich library, especially classical. He was the only hero of American independence who visited Greece. Greek authors represented in his library up to 170. In this paper we study Homeric presence in that library. [ABSTRACT FROM AUTHOR]

This article argues that a civilizational perspective is central to Castoriadis’s interpretation of ancient Greece, even if he does not use the language of civilizational analysis. More specifically, his line of argument has clear affinities with Eisenstadt’s definition of the ‘civilizational dimension’ in terms of connections between cultural interpretations of the world and institutional forms of social life. Castoriadis has less to say about geocultural and geopolitical structures of the Greek world, which would also be important topics for a balanced civilizational approach. His distinctive variation on the civilizational theme rests on the idea of social imaginary significations; in the ancient Greek case, this starting point leads to the reconstruction of a ‘primary grasp of the world’, an imaginary core that conditions further developments and innovations. This core component of Greek culture centres on the human condition as the existence of mortals in a world characterized by imperfect order and underlying chaos. The Homeric poems are Castoriadis’s main source for the contents and directions of this original Greek imaginary.  He understands the Homeric world as a framework within which the transformation of the polis towards autonomy could be initiated. Thus, the result is a strong emphasis on the archaic period as a formative phase of the whole Greek civilizational trajectory. [ABSTRACT FROM PUBLISHER]

Copyright of Problems / Problemos is the property of Vilnius University 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 author of the article argues that we should start to think of Greece and ancient Greeks not in terms of the Same, but, instead, in terms of the Other. The stereotypes about the world of Hellas are brought to the fore and criticized. The inherently paradoxical, even inscrutable nature of all cultural phenomena of ancient Greece is shown. It is stressed that almost all generalizations about classical Greek antiquity cut both ways. Almost all interpretations are wrong by definition or at best one-sided. The surface of Greek cultural phenomena seems to be very familiar and easily recognizable, yet it creates a fatal illusion that the essence of Hellas and, so to speak, the deep structure of classical Greek antiquity is also well known, even trivial. The conclusion is drawn that, in order to sharpen our insight and prevent banal thinking, we should agree that the only methodologically correct position is to treat the Greeks of classical antiquity as the Other. [ABSTRACT FROM AUTHOR]

Plutarch and Heraclitus believed a certain passage in the 20th book of the Odyssey ("Theoclymenus's prophecy") to be a poetic description of a total solar eclipse. In the late 1920s, Schoch and Neugebauer computed that the solar eclipse of 16 April 1178 B.C.E. was total over the Ionian Islands and was the only suitable eclipse in more than a century to agree with classical estimates of the decade-earlier sack of Troy around 1192-1184 B.C.E. However, much skepticism remains about whether the verses refer to this, or any, eclipse. To contribute to the issue independently of the disputed eclipse reference, we analyze other astronomical references in the Epic, without assuming the existence of an eclipse, and search for dates matching the astronomical phenomena we believe they describe. We use three overt astronomical references in the epic: to Boötes and the Pleiades, Venus, and the New Moon; we supplement them with a conjectural identification of Hermes's trip to Ogygia as relating to the motion of planet Mercury. Performing an exhaustive search of all possible dates in the span 1250-1115 B.C., we looked to match these phenomena in the order and manner that the text describes. In that period, a single date closely matches our references: 16 April 1178 B.C.E. We speculate that these references, plus the disputed eclipse reference, may refer to that specific eclipse. [ABSTRACT FROM AUTHOR]

One of the preoccupations of Dylan scholarship has had to do with his intertexts, where his songs come from, and what meanings they derive from their places of origin, be they textual or musical, secular or religious, ancient or modern. In this article, Thomas explores Dylan's contact with the ancient worlds of Greece and Rome, evident in particular in the Dylan of the last decade--that is, on the last three albums and in his "autobiography," Chronicles: Volume One. This article counters the attacks of those who cannot distinguish plagiarism--a charge also leveled against the poet Virgil in antiquity--from creative reuse. Thomas discusses Dylan's reperformance and lyrical renovation and variation from the perspective of the Homeric rhapsode, who like Dylan himself varies his initial text in performance, so creating constant shifts in meaning and emphasis. [ABSTRACT FROM AUTHOR]

Dorian Crete and Thebes are conventionally seen by ancient sources as the originators of pederasty; modern historians see support for this view in Dorian male-centered militarism and sexual segregation in upbringing. Here athletic culture, including training, nudism, and competition, is argued to be a chief 'trigger' for the emergence of pederasty in Sparta and its relatively rapid spread to other Greek states in the seventh to sixth centuries BC. Athletic nudity, in particular, was not a device to enforce civic egalitarianism, as some have argued, but is a persistently erotic incentive that reinforces hegemonic maleness and advertises the individual's virtuous exercise of restraint. In particular, Sparta is found to be the likely source of generalized athletic nudity combined with open pederasty in the early seventh century BC. Nudism in Greek art is erotically charged and not, as others argue, simply a gender marker in the seventh century. Generalized athletic nudity spread to other Greek states emulating the successful Spartan model by the 'athletic revolution' of the early sixth century. With athletic nudity, open pederasty, again following Sparta, was fostered. [ABSTRACT FROM AUTHOR]

Engaging equally with ancient Greco-Roman and contemporary Euro-American paradigms of citizenship, this essay argues that experiences of civic integration are structured around figurations of island and archipelago. In elaboration of this claim, I offer a transhistorical account of how institutions and imaginaries of citizenship take shape around an "insular scheme" whose defining characteristic is displacement. Shuttling from Homer and Livy to Imbolo Mbue and Danez Smith, I rely on the work of postcolonial literary critics and political theorists to map those repetitive deferrals of civic status to which immigrants and refugees in particular are uniquely subject. [ABSTRACT FROM AUTHOR]

Homer's epics, the Iliad and the Odyssey, written between 800-700 BC, offer valuable information about what medical practice meant at that time. Descriptions of injuries and care given can be found among the 26,000 verses of these poems. During the Trojan War many warriors possessed empirical knowledge of wound care. However, Machaon and his brother Podalirius were the chief medical officers of the Greek army as it besieged Troy. Machaon was acting mainly as a trauma surgeon, while Podalirius was a physician. The original texts of the Iliad and Odyssey, as well as relevant literature and references, were methodically studied for extraction of adequate information about the life and work of Machaon. He provided medical care to injured soldiers and officers, and performed small operations. He treated the wound of King Menelaus of Sparta, the co-chief of the Greek army and many others. He was also a talented warrior, participating in many battles around the walls of Troy. When he was injured, the Greeks rallied around him so that he would not be taken or killed by the enemy. Since he had the knowledge and the ability to save lives, his life was considered equal to that of many men. Future generations would worship him as god protector of surgery. Machaon's techniques and skills can be considered to constitute the origins of modern surgery and trauma management at the dawn of western civilisation.