Homer: &lt;I&gt;Iliad&lt;/I&gt; Book 22

Homer,

doi:10.1017/cbo9781139029902

Cited by 5 publications

(3 citation statements)

References 151 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…He wandered out alone on the Aleian plaindepressed in spirit, roaming there and shunning all. 53 Not belonging to the world of the gods (past), he also did not adjust to the earthly world (present) and so he lived in permanent solitude. His obsession was so intense that, in the last years of his life, so as not to let any memory escape, he reserved the night for the writing of the sensations that he sought more and more frantically and obstinately.…”

Section: Discussionmentioning

confidence: 99%

Melancholy in Marcel Proust

Sargento

2022

View full text Add to dashboard Cite

The purpose of this article is to show how Marcel Proust faces temporality and how we can establish a parallel between his moods and the melancholic state of mind. A brief reflection is made on our relationship with time and about melancholy as consequence of our awareness of the passage of time. Focusing on the study of the first chapter of Swann’s Way, the first volume of Proust’s work In Search of Lost Time, it is presented as part of Proust’s melancholic experience, the fact that he articulated different times with the recourse of involuntary memory, one of the main means used by him in the writing of this work. The question of intuitions as thrusters of this same involuntary memory is addressed and as Proust, neither offering us a figurative literature, nor an abstract literature, used this formula in the struggle against his melancholic hopelessness. It is specified how Proust made the image (figure) to appear alternating the sensation of present with the sensation of past. Some considerations are made about mourning from two different standpoints, firstly from Walter Benjamin’s point of view and his philosophical perspective on the phenomenon of melancholy, then from the approach of Sigmund Freud, to whom melancholy is a pathology within the scope of psychiatry, opposed to mourning. The “loss” prevails throughout this reflection as a condition for the melancholic disposition.

show abstract

Section: Discussionmentioning

confidence: 99%

Melancholy in Marcel Proust

Sargento

2022

View full text Add to dashboard Cite

show abstract

“…In Homer's Iliad alone some thirty passages feature comparisons between the animal and various heroes, notably Diomedes, Achilles, and Sarpedon. 20 Virgil, meanwhile, employs lion similes primarily in his characterization of Turnus. 21 The tertium comparationis is almost always the lion's furious aggression; but again, this does not come across as an entirely baleful quality, since the heroes to whom it is attributed generally emerge victorious over the forces of evil.…”

Section: The Threatening Lionmentioning

confidence: 99%

The Lion in Medieval Western Europe: Toward an Interpretive History

Harris

2021

Traditio

View full text Add to dashboard Cite

Several scholars have studied meanings attributed to the lion in the western European Middle Ages, but their accounts have tended to be partial and fragmentary. A balanced, coherent interpretive history of the medieval lion has yet to be written. This article seeks to promote and initiate the process of composing such a history by briefly reviewing previous research, by proposing a thematic and chronological framework on which work on the lion might reliably be based, and by itself discussing numerous textual examples, not least from German, Latin, and French literature. The five categories of lion symbolism covered are, respectively, the threatening lion, the Christian lion, the noble lion, the sinful lion, and the clement lion. These meanings are shown successively to have constituted regnant fashions that at various times profoundly shaped people's understanding of the lion; but it is demonstrated also that they existed alongside, and in a state of creative tension with, a “ground bass” of lion meanings that changed relatively little. Lions nearly always, for example, represented important, imposing things and people (for example, kings); and the New Testament's polarized presentation of the lion as either Christ or the devil proved enormously influential both throughout and beyond the Middle Ages. As such any cultural history of the lion — and indeed of many other natural phenomena — must be continually sensitive to the co-existence and interaction of tradition and innovation, stability and dynamism.

show abstract

“…The river Scamander itself complains that the corpses clad in armour lying in its depths did not allow it to reach the sea. 94 Throughout the history of the Greeks, the only one who would not have minded being buried at the bottom of the river was probably Diogenes the Cynic. 95 It seems that Hellenic rivers willingly absorbed only animal and vegetable sacrifices and hair thrown there as part of initiation rites.…”

Section: Aquatic Memorymentioning

confidence: 99%

Between rivers and the sea: The Hellenic aquatic divisions

Kostuch¹

2015

International Journal of Maritime History

View full text Add to dashboard Cite

It would seem that the view of the river flowing into the sea was, for the Greeks, a natural phenomenon, unworthy of special attention -as it is for us. Nothing could be further from the truth. A careful analysis of the extant sources leads to the conclusion that the Greeks perceived a strong distinction between the rivers and the sea. Moreover, they perceived this distinction as part of the natural mechanism, not some quirk of nature that could only be recorded in the realm of paradoxography. Moreover, in terms of géographie imaginaire, the innate 'disagreement' between the rivers and the sea -naturally predestined to each other's existence -went beyond the usual aquatic division and opposition between the land and sea. This raises the question of how important this natural disagreement was to Greek culture. It turns out that perceptions about the organization of water resources reveal the Hellenic tendency to use the spatial location to explain cultural differences, political particularism and the fear of loss of historical memory. Thus, the strong distinction between the rivers and the sea is part of the Greek cultural heritage.Researchers of antiquity agree that the ancient Greeks saw nature through the lens of politics, culture and religion. Conversely, the nature simultaneously shaped the same spheres of activity of the Greeks who perceived landscape as three harmonized, complementary and inseparable dimensions: natural (physical), human and imaginary. In modern terms,

show abstract

Homer: <I>Iliad</I> Book 22

Cited by 5 publications

References 151 publications

Melancholy in Marcel Proust

Melancholy in Marcel Proust

The Lion in Medieval Western Europe: Toward an Interpretive History

Between rivers and the sea: The Hellenic aquatic divisions

Contact Info

Product

Resources

About