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In this paper I consider ways in which seawater--both on its surface and in its depths--opens up alternative forms of thought and expression in Homer, especially with respect to the body. By tracking the relationship between body and simile as it is mediated by the surface of the sea, I argue that water emerges as an especially mobile and adaptive medium for expressing the transformation that takes place between self and simile in Homer. In the Iliad, similes are wellknown for bringing weather, waves, and other aspects of the natural environment into the poem, whereas in the Odyssey those aspects more often introduce similes of their own. I offer a reading of the shipwreck scene in Odyssey 5 to suggest that the body's struggle to stay afloat is matched there, on a formal level, by the role of waves in drawing simile and body to the sea's surface. I then address a different kind of figurative language (closer to metaphor and associated with grief) that takes place in the depths, through readings of scenes in Books 18 and 24 of the Iliad and Archilochus fragment 13. [ABSTRACT FROM AUTHOR]

This paper considers the narrative significance of localization in Homer's Odyssey , in particular singular places that are associated with multiple spaces (identified here as dual localization). Our reading posits that spatial features hold narrative significance and, once uncovered, this resolves 'problematic' issues that may arise from spatial paradoxes. The chosen case study is the Odyssean land of the Ethiopians with its twin dual localization: (1) it is located simultaneously at the eastern and western peripheries of the world while also located singularly 'with Poseidon'; and (2) this peripheral localization contrasts with a later 'real world' setting in Egypt/North Africa. While this people's localization has been the subject of prior study, this paper presents a novel analysis: these localizations serve a characterizing function which, in turn, relates to the thematic function of Menelaus' embedded narrative as foreshadowing the primary narrative of Odysseus' nostos. [ABSTRACT FROM AUTHOR]

Background: Diagnosing a rare disease, such as amyotrophic lateral sclerosis, is a major challenge for physicians and patients. Despite detailed diagnostic criteria, this process often does not proceed as it should, exacerbating the problems of patients. In the following study, we show how the process, which in medical sciences has been called the "diagnostic odyssey", proceeds and how it affects patients. Materials and methods: Participants were recruited via a neurology clinic. Twenty-four patients with the diagnosed disease were interviewed using in-depth interviews and an author questionnaire: 9 females and 15 males ages ranging from 30–39 to 60–69. Results: The median time from 1st symptoms to diagnosis was almost 12 months and mean almost 20 months (min. 3, max 106). Only 5 patients waited less than 6 months for being diagnosed. Over 80% of patients received an alternative diagnosis on the first attempt. Conclusion: ALS is a fast-paced fatal disease, which requires immediate action to slow down the course of the disease and improve patients' quality of life. However, in many cases, the disease is diagnosed too late. It also happens that a wrong diagnosis causes inaccurate treatment, which accelerates the development of ALS. For this reason, it is necessary to expand the clinical and communication competences of medical personnel already at the stage of medical studies. In addition, the diagnostic criteria should highlight the common problem with diagnosing ALS. [ABSTRACT FROM AUTHOR]

This article aims to introduce, explore, and analyse an oral folk tale called "Ahmad Sādāti and His Companions", common in some Lur villages in Fārs and Kohgiluyeh and Boyer-Ahmad provinces in Iran. The plot and storyline of this tale correspond to those of the myth of Ulysses and the giant Polyphemus in the Odyssey, attributed to Homer. The significance of this study lies in exhibiting the cultural exchange between Greek and local-indigenous subcultures of Iran. Greek and Persian cultures were in constant mutual contact from the mid-sixth century BC until late antiquity, and this contact became closer after Alexander's campaign and the rise of the Seleucids in Iran. The study area is located on the western margins of the Iranian plateau - the birthplace of two great dynasties of Iranian rulers in ancient times - which redoubles the importance of the issue under investigation. [ABSTRACT FROM AUTHOR]

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The poet of the epics "Iliad" and "Odyssey", known as Homer, is referred to in Ottoman Turkish and Turkish sources as "server-i şuarâ," the greatest of poets, the father of poetry, an Anatolian poet, and an Ionian poet. In 1885/1886, with Na'im Fraşeri's (d. 1900) first incomplete translation of Homer from the original Greek, the Turks had the opportunity to read the Iliad in Ottoman Turkish. However, it is known that the Turks were not unfamiliar with the themes and heroes of Homer's epics. In 1815, F. von Diez's work Denkwürdigkeiten von Asien initiated discussions about the similarities and early historical relationships between Homer's epics and the Dede Korkut epics with a comparison of Tepegöz and Polyphemus from the Odyssey. Fatih Sultan Mehmet's (Mehmed II the Conqueror) (d. 886/1481) visit to Troy in 1462 and the copy of the Iliad dated to 1463, transcribed by Johannes Dokeianos in the Topkapı Palace, were considered the most significant indicators of the Sultan's and the Ottoman court's interest in Greek literature and Homer. The inclusion of Trojan narratives in the supplement of Katip Çelebi's geographical compendium, the Cihannuma and in the works Hezarfen Hüseyin Efendi (d. 1103/1691), and Müneccimbaşı Ahmed Dede (d. 1113/1702) in their writings is evidence that Ottoman scholars were aware of major literary themes and myths outside of Islam. With the reforms in 1839, 1856, and 1860, which turned the face of the Ottoman Empire towards the West, translations, especially from Greek and Roman classics and world literature, were encouraged. Yusuf Kamil Pasha's (d. 1876) translation from Fénelon in 1862 under the title "Terceme-i Telemak" indirectly introduced Turks to Homer once again. The excavations by Heinrich Schliemann (d. 1890) in 1873, where he believed to have discovered both Homer's Troy and the treasures of Priam, revived interest in Homer's epics in the Ottoman Empire. Towards the end of the 19th century, an increasing number of Ottoman intellectuals and writers began to take an interest in Homer's epics. In our article, we will first examine the early Ottoman interest in Homer and his epics, and then explore how Homer and his works were treated in Turkish sources from the late 19th century to the beginning of the 20th century. From 1863 until 1940, when the first complete Turkish translation from Homer was made, the date of Homer's birth, place of birth, his travels, and how "Iliad" and "Odyssey" epics were handled in periodicals such as journals, magazines and newspapers, in works on Greek literature and history, and in the introductions of the first Turkish translations were analyzed. Homer is sometimes introduced in the sources as a real and sometimes a legendary poet, and is referred to as Milaszâde, Mélésigéne, depending on his place of birth, and is also referred to as Homer, meaning blind. Homer is depicted as the precursor of Greek poets, writers of tragedy and comedy, the most important source for Roman and European poets. Homer has been compared to Firdevsi, the author of Iran's national epic "Şehname", and the poet Nizami, and described as a poet admired by Alexander the Great, who was tutored by Aristotle. Cities such as Meles, Salamis, Rhodes, Colophon, Argos, Athens, and especially Izmir/Smyrna were accepted as Homer's birthplace. Homer's birth date has been determined approximately as 900 BC, based on the Trojan War and the birth date of Herodotus. Cities mentioned in sources where Homer traveled include Tyrsenia, Iberia, Ithaque, Colophon, Cyme, Neonteikhos, Phocaea, Ios, Hellas, Samos, and Chios". [ABSTRACT FROM AUTHOR]

The paper proposes a solution to the problem with Odysseus' kingship in the Odyssey by maintaining that Odysseus is not officially considered dead. Consequently, Telemachus cannot inherit the position of king and Penelope must leave Odysseus' household before remarrying. After discussing the modern concept of legal death and previous interpretations of the Ithacan situation, the paper focusses on Athena's speech at 1.275–92. A close reading demonstrates that erecting a cenotaph to Odysseus would be tantamount to a modern declaration of death in absentia , since it will render Penelope a widow and Telemachus the head of the household. This legal convention chimes with the Homeric depiction of Hades. [ABSTRACT FROM AUTHOR]

In the Odyssey, Homer's Penelope and Circe have fundamentally important roles in ensuring the progression and success of the hero's, Odysseus, journey home. Their actions in the Odyssey invite complex readings of the two women. Despite this, onscreen Penelope is often depicted as the "good, faithful" wife, and Circe as the "temptress". Whilst these interpretations are not wrong, they are limited, cultivating a diminutive cultural understanding about Homer's women. In this article I will use The Simpsons episode 'Tales from the Public Domain' as the foundation of my analysis, whereby I argue that screen adaptations perpetuate these gendered tropes further by relying on what is "known" about these women, instead of investigating their roles in ways that are significantly more complex. To achieve this, I will analyse how gender roles are presented in The Simpsons' adaptation of the Odyssey, with a special focus on Penelope's and Circe's interaction with, and relationship to, the story's hero, Odysseus. I will compare these representations to examples from other screen adaptations from the twentieth and twenty-first centuries, including Mario Camerini's Ulysses, Andrei Konchalovsky's The Odyssey, and Joel and Ethan Coen's O Brother, Where Art Thou?. [ABSTRACT FROM AUTHOR]

This article seeks to offer some considerations on Telemachus' journey to Pylos and Sparta (Hom. Od. 1–4), interpreting it in the light of his social position as heir of a basileus. Can the beginning of the Odyssey represent a sort of formation for the young prince? And how does the text support this reading? After a brief review of the features of a Homeric basileus , it will be argued that the narrative presents the growth of Telemachus as that of a young prince who needs to comply with those features, and become acquainted with the heroic world he lives in at peace. [ABSTRACT FROM AUTHOR]

This paper presents a comparative analysis between Homer's Odysseyand Margaret Atwood's Penelopiadregarding the importance of mimesis and verisimilitude through Penelope. The paper analyzes an in-between place, suspended by the unsaid which, under the author's gaze, reveals aspects of the Homeric text, focusing now on Penelope, no longer Ulysses. The discussion is supported by the theories of Carvalhal (1991), Carreira (2008), Renaux (2009), and Castro and Oliveira (2017). Thus, it is noted that Penelope, in the modern work, gains voice in the plot and, therefore, her actions are elevated to the foreground, which was once denied her in Homer's Odyssey. Moreover, this study makes it possible to think about literature from its context represented in the works and the social function they exercised/exercise for society.

The aim of this contribution is to critically engage with the ricoeurian reading of the topic of recognition in the Homeric poem Odyssey. The hypothesis presented here is that the ricoeurian reading shows only one side of the coin, since it is almost solely focused on the recognition received by Ulysses when he comes back to Ithaca incognito. Ricoeur stresses the unilaterality of recognition, which is only directed to re‑establish Ulysses’ power as king. Being recognized as the king of Ithaca does not imply, so Ricoeur’s argument goes, to recognize those who are subjected to him, and is a mere way of exhibiting power. But there is another possible reading of the scenes of recognition in the Odyssey, even if Ricoeur does not take them into account. Indeed, another moment of the recognition story can be found in the Isle of the Phaeacians, and it cannot be traced back to the “will to power”, but, rather, to Ulysses’s fragility. When Demodocus, the poet at the court of the king Alcinoos, starts singing the story of the famous hero Ulysses, who is there incognito, Ulysses cannot hold back his tears, and in the end he discloses his own identity. Here, Ulysses does not look for recognition, instead recognition is granted to him in an unexpected way. This act of recognition reveals all the fragility of the hero, who discovers himself in the words of others, and understands that he depends upon them to be, to exist, and, in the end, to come back home. This sort of “recognition by fragility” is possible due to a narrative dimension where Ulysses is hosted, and whose configurative and refigurative power makes the hero able to name his feeling as a feeling of “nostalgia”.

The eating of the corpses of fellow crew members has been a survival strategy for shipwrecked sailors for centuries. In this paper I ask whether we can see any traces of this practice in the Odyssey. I find them in the structure of the episode of the cattle of the sun on Thrinacia, in the cannibalistic undertones and drawing of lots on Circe's island, Aeaea, and in the trope of human sacrifice to obtain fair winds, suggested by Menelaus's experiences on Pharos and the death of Elpenor. These traces reflect the anxieties of an early seafaring culture, illuminate the Odyssey's most famous anthropophage, the Cyclops, and suggest an allusive relationship between the Odyssey text and ancestral narratives of survival cannibalism. [ABSTRACT FROM AUTHOR]

This article focuses on the interrelationship between two events taking place simultaneously in Odysseus' megaron : Phemius' performance and the conversation between Telemachus and Athena. I argue that at Hom. Od. 1.298–302 Athena, in her mention of Orestes' kleos , refers directly to Phemius' song that Telemachus can hear from where he is sitting. This reading sheds new light on the characters' receptions of Phemius' song. Between the well-known contrasting responses of the nearest and the farthest audiences – the suitors' silence and Penelope's over-reaction – stands Athena's cognitively constructive use of it, by which the goddess attempts to establish a shared understanding with Telemachus, whose kleos is one of the main concerns of her visit to Ithaca. [ABSTRACT FROM AUTHOR]

Critics of fantasy fiction stress that its roots lie in ancient mythology. This article offers a case study that tests the currency of this assumption for children’s fantasy. It investigates how the contemporary subgenre recycles characters and narratives from ancient tales through two series and the Odyssey. We demonstrate striking parallels between the series and the Odyssey and reveal how key features of contemporary children’s fantasy – including quest structures, the character trait of cunning intelligence, and particular patterns in father/child relationships – have their roots in and continue to follow the logic of this fundamental ancient text. The article concludes that reading contemporary children’s fantasy through its classical antecedents reveals the persistence of ancient narratives in the subgenre. Children’s fantasy fiction is not impoverished or limited by its ongoing dependence on ancient tales. Rather, the deeply adaptive sensibility of fantasy is generative of new opportunities for storytelling.

With the name 'Temesa' (Latin Tempsa), the ancients identified a settlement located along the Tyrrhenian coast of Calabria, cited by sources as an international metal exchange emporium. The town is mentioned by Homer as being famous in the ancient world for the production of bronze, and in the I century A.D. Strabo wrote that there were rich copper mines near the city. Many years of study led to the recognition of Temesa as a complex urban system located between the Oliva and Savuto rivers, near Amantea. To confirm this hypothesis, we searched, in the surrounding rocky outcrops, for the presence of minerals useful for the extraction of iron and copper. Samples of 3 different rock stratifications were taken near the protohistoric settlement of Serra Aiello. The observation under an polarized reflected light microscope and the X-ray diffraction patterns revealed the presence of many minerals useful for the extraction of iron and copper in every sample. The heating of samples under both oxidizing and reducing conditions helped us to better quantify copper and iron minerals content causing, at the same time, the appearance of a marked paramagnetic behavior that could be associated with the presence of goethite. X ray fluorescence analysis showed a high concentration of iron and a low copper content. [ABSTRACT FROM AUTHOR]

In the summer of 2014, a group of Adult Fans of LEGO (AFOLs) designed and constructed a massive LEGO model of Homer's Odyssey —a model worth analysing as an artistic adaptation of a canonical work of classical literature. Drawing on recent scholarship in the field of LEGO studies, this article examines this model in the context of LEGO as an artistic medium. It then considers the ways in which this model engages with modern conceptions of the idea of 'epic', while also using Mikhail Bakhtin's distinction between epic and novel to explore some of the model's more novelistic qualities. Finally, this article seeks to position the model within—and in opposition to—a wider landscape of LEGO-centric classical engagement. [ABSTRACT FROM AUTHOR]

This article makes two arguments: (1) a specific argument about two passages in the 16th and 19th songs of the Odyssey; (2) a general argument about the dangers involved in translations of classical texts. In the specific argument it is shown that translators have (with a single exception) distorted Greek terms for skin colour, and, by doing so, they enable racist agendas to gain support from their translations. The general argument is that in questions that are the subject of controversy and discussion in the 21st century translators of classical texts have to be careful to recognise their own preconceptions and prejudices to ensure that the translations are not used for detrimental purposes. [ABSTRACT FROM AUTHOR]

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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 article discusses some social and psychological aspects involved in two of Odysseus' lying tales (Od. 14.192–359 and 19.165–248). If one understands remembering as reconstructing the past, this reconstructive element leaves room for forgery and deception. Telling credible lies involves many of the same cognitive structures used in the sharing of authentic personal memories. Odysseus' fake autobiographical stories in the guise of a Cretan beggar offer an interesting case study of this overlap between reconstructed memories and credible lies. Drawing on recent studies on autobiographical memory and on parallel examples in our contemporary world, the aim of this paper is to analyse some narrative and psychological features of Odysseus' fake memories, as well as the social functions that they fulfil in the fiction of the poem. It will be shown that, speaking with Eumaios, Odysseus builds his story using a conventional structure common to 'truthful' autobiographies in the fictional world of the epics, while with Penelope his autobiographical memories are co-narrated during the dialogue, guided by the emotions mutually aroused between narrator and narratee. [ABSTRACT FROM AUTHOR]

In this article, I will address the use of the modal particle (MP) with the subjunctive in the main clauses in the Odyssey. I choose this feature, because this is a usage that is unknown to Attic and even in Ionic this is extremely rare. I first explain how the corpus was obtained, as the forms described as “future indicatives” in the grammars of Classical Greek descend either from the Indo-European desiderative and will be called “future-desideratives” here, or are metrically equivalent to the subjunctive of the sigmatic aorist, and as in the vast majority of cases, the distinction between desiderative and aorist subjunctive cannot be made, these forms are catalogued as “future-subjunctives”. In a second step, I discuss some of the textual issues that could arise in determining whether or not the MP was in fact attested. Thirdly, I outline a working hypothesis, outlining that the MP refers to single and specific action close to hearer and speaker and is only allowed with the epistemic modality (as in Allan’s 2013 framework). Fourthly, I provide the fact and figures and then, I start with the actual analysis. I find that there are no “future-desideratives” with an MP in the Odyssey and that only a very limited number of (future-)subjunctives are used with an MP in the main clause. This is due to the fact that most of these forms have a desiderative, voluntative and/or exhortative meaning, which are all three incompatible with the use of the MP. Besides the passages where the rules seem to be observed, I also discuss those in which the rules seem to have been violated, there are different variants attested or more than one interpretation possible.

In the Odyssey, Homer’s Penelope and Circe have fundamentally important roles in ensuring the progression and success of the hero’s, Odysseus, journey home. Their actions in the Odyssey invite complex readings of the two women. Despite this, onscreen Penelope is often depicted as the “good, faithful” wife, and Circe as the “temptress”. Whilst these interpretations are not wrong, they are limited, cultivating a diminutive cultural understanding about Homer’s women. In this article I will use The Simpsons episode ‘Tales from the Public Domain’ as the foundation of my analysis, whereby I argue that screen adaptations perpetuate these gendered tropes further by relying on what is “known” about these women, instead of investigating their roles in ways that are significantly more complex. To achieve this, I will analyse how gender roles are presented in The Simpsons’ adaptation of the Odyssey, with a special focus on Penelope’s and Circe’s interaction with, and relationship to, the story’s hero, Odysseus. I will compare these representations to examples from other screen adaptations from the twentieth and twenty-first centuries, including Mario Camerini’s Ulysses, Andrei Konchalovsky’s The Odyssey, and Joel and Ethan Coen’s O Brother, Where Art Thou?.

Although Homer’s Odyssey is not a scientific or historical work, it reveals certain elements of Meteorology. Weather phenomena during Ulysses’ 10-year return journey reflect empirical observations from the Bronze Age up to the post-Mycenaean era, or even the early Geometric times, probably localized across the Mediterranean Sea. Seeking descriptive characteristics or other features in the Odyssey’s narration, this study is an attempt to build up a scientific approach in several items, e.g., wind fields considering related tests for comparison.

Several ancient authors locate the scene in the Odyssey where Ulysses evokes the souls of the dead on the shores of Lake Avernus, near Cumae. Our sources also mention the existence of an oracle of the dead (nekyomanteion) at this place. According to them, the Greek name of the lake, Aornos (“without birds”), is linked to the deadly gases emanating from it. However, this study shows that it is a false etymology and it is not because of such emanations that the lake was identified with the place described in the Odyssey. On the contrary, this identification probably took place only after the Greeks began to imagine the entrance to Hades as a deep lake in the 5th century BCE.

Family genealogy is well-positioned to explore the significance of burial and death, particularly as it relates to one's connection to ancestors. Doing genealogical research involves visiting the land of the dead, treasuring information, heirlooms, and documents providing evidence about the life of an ancestor, and often revealing a presence of and interaction with the ancestor. Burial is not only associated with the essence of humanity, and coeval with historical consciousness, but it is also essentially connected with genealogy. One may argue that historical consciousness is founded on awareness of and practices bearing on genealogical and ancestral relations. After briefly listing points related to burial and mortuary practices, the article discusses Western philosophers beginning with Plato to show the dual emphases of concern for personal mortality and death of the other. It focuses on death of the other as being able to explain funerary practices and as amenable to genealogy. Next, a brief examination of Freud's uncanny and of Abraham and Torok's transgenerational psychology constructed on evidence of the unconscious phantom lead to the spectral turn instituted by Derrida. The article is rounded out with a consideration of the metatextuality of Gilgamesh and the Odyssey epics. Both involve a visit by the living to the land of the dead. Both are textual, placing unwritten stress on the critical role of writing. [ABSTRACT FROM AUTHOR]

This paper offers a pragmatic study of a sequence of supplication speech acts between Telemachus and the Trojan heroes Nestor and Menelaus. It examines the linguistic phenomena of both the main speech act of supplication and its secondary speech act. This is approached from Blum-Kulka y Olshtain’s (1984) concept of macro-directive speech acts and Brown and Levinson’s (1987) theory of verbal (im)politeness. [ABSTRACT FROM AUTHOR]

Working from home has brought a number of changes in the lives, habits and ways of working of many employees. The article analyzes some of these changes starting from a survey conducted at the end of 2020 on a national sample of 554 subjects. The results were grouped on several major topics: resources, changes, advantages/disadvantages, which resulted in three analysis models: CALIPSO, CIRCE and CICLOP. These are the names of famous characters from Homer's Odyssey, and the comparison with them shows that the way back from office work to home work was not without its adventures and consequences. The COVID-19 pandemic produced changes in the attitudes and behaviors of those who experienced work from home in the second half of 2020. The correlations show significant differences between types of employees, such as those between public servants and those in the private sector. or between those with doctoral studies and those with fewer years of schooling.

A close reading of the contexts of several Homeric passages reveals that Homer often uses εἰδώς with ironic force. This realization sheds light on several passages discussed herein, including: 1) Homer's description of the location of Ithaca, which is shown to be Odysseus' strategic lie that directs the Phaeacians to the local stronghold (nearby Dulichium), and 2) the manuscript reading of Parmenides B1.3, which is shown to harbour no internal conflict even if its εἰδότα φῶτα ('one who knows') is in a state of confusion (ἄτῃ), because εἰδότα can signal incomplete or confused knowledge, or even a lack of it. Other literary clues in Parmenides B1 are shown to support this reading. [ABSTRACT FROM AUTHOR]

With the name ‘Temesa’ (Latin Tempsa), the ancients identified a settlement located along the Tyrrhenian coast of Calabria, cited by sources as an international metal exchange emporium. The town is mentioned by Homer as being famous in the ancient world for the production of bronze, and in the I century A.D. Strabo wrote that there were rich copper mines near the city. Many years of study led to the recognition of Temesa as a complex urban system located between the Oliva and Savuto rivers, near Amantea. To confirm this hypothesis, we searched, in the surrounding rocky outcrops, for the presence of minerals useful for the extraction of iron and copper. Samples of 3 different rock stratifications were taken near the protohistoric settlement of Serra Aiello. The observation under an polarized reflected light microscope and the X-ray diffraction patterns revealed the presence of many minerals useful for the extraction of iron and copper in every sample. The heating of samples under both oxidizing and reducing conditions helped us to better quantify copper and iron minerals content causing, at the same time, the appearance of a marked paramagnetic behavior that could be associated with the presence of goethite. X ray fluorescence analysis showed a high concentration of iron and a low copper content.