Este trabalho pretende discutir de que forma a noção de heroísmo foi abordada nas Argonáuticas de Apolônio de Rodes em oposição ao conceito de herói presente nos poemas homéricos. A análise se baseará na distinção entre as personagens Jasão e Héracles como exemplos de modos de atuação díspares e conflitantes no poema. A tradução dos livros I e n das Argonáuticas complementa o estudo. / This work intends to discuss the notion of heroism present in Apollonius Rhodius\' Argonautica in opposition to the concept of hero in Homeric poems. The analysis is based on the distinction between the characters Jason and Heracles as examples of different and conflicting ways of action. The translation of Argonautica books I and n complements the study.

À la charnière des XIIIe et XIVe siècles un long cycle épique s’est constitué autour de Huon de Bordeaux. Ce que la critique appelle la Chanson d’Yde et Olive, pour indiquer la troisième continuation, regroupe en réalité trois unités narratives distinctes, Yde et Olive I, Croissant et Yde et Olive II, consacrées aux aventures de la petite fille et de l’arrière-petit-fils du héros bordelais. Dans ma thèse je propose une nouvelle édition critique, un commentaire et une étude de la réception en Italie de ces textes qui, quoique méconnus, constituent un échantillon représentatif de la plasticité de l’épopée, notamment tardive, puisant dans le même réservoir narratif que les contes, les légendes hagiographiques, les romans et les pièces dramatiques. De plus, Yde et Olive I a sans doute contribué à transmettre la fabuleuse histoire d’Yde au-delà des Alpes, comme en témoignent les cantari d’Antonio Pucci et de Piero de Sienne qui reprennent le même schéma narratif. Ainsi, à la lisière entre oralité et écriture, la Chanson d’Yde et Olive dialogue avec d’autres textes appartenant à des genres et à des langues différents, tout en nourrissant un imaginaire littéraire partagé et en suscitant un questionnement sur l’ordre établi de la société qui entre en résonance avec notre époque qui se dit moderne. / A long epic cycle written at the turn of the 13th and 14th centuries built up the chanson of Huon de Bordeaux. What scholars call the Chanson d’Yde et Olive, to intend the third sequel, unites three different episodes, Yde et Olive I, Croissant and Yde et Olive II, which relate the adventures of the granddaughter and the great-grandson of the hero of Bordeaux. In my thesis, I propose a new critical edition, a commentary and a study of the transmission in Italy of these heretofore unrecognized texts which represent a typical sample of the late chansons de geste. In the 13th and 14th centuries, epic draws from the same narrative patterns as the tales, the hagiographic legends, the novels and the dramas. Furthermore, Yde et Olive I has undoubtedly contributed to transmit Yde’s fabulous history beyond the Alps, as the plot of the Italian cantari of Antonio Pucci and Piero da Siena seems to prove.So at the boundary between orality and writing, the Chanson d’Yde et Olive interacts with several texts belonging to different literary genres, enriches an imaginary which does not know any border, interrogates the established order and finally confronts us with the boundary of male/female divides.

Soviet writer Vasilii Grossman has been renowned in the West as a dissident author of Life and Fate, which multiple sources, including The New York Times have called "arguably the greatest Russian novel of the 20th century." Grossman, however, was not a dissident, but an official state writer attempting to publish for a Soviet audience. Grossman's work was criticized by Soviets as being "too Jewish", while Jewish scholars have called it "not Jewish enough." And, despite his modern critical acclaim, little scholarship on Grossman exists. In my thesis, I explore these paradoxes. I argue that Grossman attempts to reinterpret traditional state ideas of Sovietness into a more inclusive, democratic version by creating heroes from traditionally marginalized groups. To do this, he reinterprets and inverts traditional tropes of the Socialist Realist genre. Genric limitations on his worldview, however, prevent this vision from being completely realized in the course of his work. I trace Grossman's work from his early short fiction to his Khruschev era novels and show how this trope develops during his career as a Soviet writer and citizen.

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Η παρούσα εργασία έχει ως θέμα τις συνθήκες ναυσιπλοΐας και την έκφραση του ναυτικού βιώματος στις ελληνικές περιοχές κατά την περίοδο μεταξύ των μέσων του 9ου και του τέλους του 6ου αιώνα π.Χ. Η βάση εκκίνησης της έρευνας ήταν τα ομηρικά έπη, ενώ για την επεξεργασία του θέματος χρησιμοποιήθηκαν αρχαιολογικά και γραμματειακά δεδομένα προερχόμενα από τη συγκεκριμένη εποχή, αλλά και στοιχεία σχετικά με το θέμα προερχόμενα από προγενέστερες ή μεταγενέστερες εποχές. Επίσης συχνά έπρεπε να ανατρέξουμε σε πληροφορίες προερχόμενες από περιοχές εκτός του ελληνικού κόσμου, ώστε να μπορέσουμε να σχηματίσουμε την αναγκαία γενική εικόνα εντός της οποίας έγινε η πραγματεία του θέματος. Αρχικά, εξετάζονται τα ναυπηγικά δεδομένα, με βάση γραμματειακές πηγές (κυρίως, την περιγραφή του τρόπου ναυπήγησης της σχεδίας του Οδυσσέα), πρωτογενή ευρήματα (ναυάγια) και απεικονίσεις ή ομοιώματα καραβιών. Στο δεύτερο κεφάλαιο εξετάζεται το ομηρικό λεξιλόγιο για τα καράβια: λέξεις για τη μορφή, το σχήμα, τα δομικά στοιχεία, την πλεύση με κουπιά και με πανί, τα συστήματα διεύθυνσης, τον κατάπλου, ώστε να σχηματίσουμε μια όσο το δυνατόν λεπτομερή εικόνα για τα πλοία της Ιλιάδας και της Οδύσσειας. Στο τρίτο κεφάλαιο, η έρευνα εστιάζει στο το φυσικό περιβάλλον εντός του οποίου έπλεαν τα καράβια της ομηρικής εποχής: καιροί, ρεύματα, μορφολογία των ακτών, ορατότητα• επιπλέον, θα εξετάσουμε τις στρατηγικές πλεύσης που καθορίζονταν από το φυσικό περιβάλλον. Στο τέταρτο κεφάλαιο προσπαθούμε να διακρίνουμε τα κίνητρα που οδηγούσαν τους ναυτικούς στην επιλογή της μίας ή της άλλης διαδρομής, καθώς και να εξετάσουμε κάποιες βασικές ρότες. Στο πέμπτο κεφάλαιο διερευνώνται οι γενικότερες αιτίες που οδηγούσαν τους ανθρώπους της ομηρικής εποχής στο θαλάσσιο ταξίδι. Τέλος, στο έκτο κεφάλαιο, και μέσα στο πλαίσιο του θαλάσσιου ταξιδιού, εξετάζονται είναι οι σχέσεις που συνδέουν τον Οδυσσέα με την Ιθάκη, καθώς και η θέση της Ιθάκης στην αντίληψη των ναυτικών της αρχαιότητας. / The subject of this dissertation is the conditions of navigation and the expression of nautical experience in Greek societies between the middle of the 9th and the end of 6th centuries B.C. The base of the research is the Homeric epic. The main tools of research were archaeological and literary data from this era; also, we used relevant complementary evidence from earlier and subsequent ages. From time to time it was necessary to use the informatory context of non-Greek societies, in order to enlighten some obscure points and construct the big picture of our subject. At first, we discuss the construction of a ship, using literary sources (mainly, the account of raft building, in the second book of Odyssey), archaic ship relics and ship images or clay models. In the second chapter, we discuss the Homeric nautical vocabulary: words for the shape, the form, the construction of a ship, the sailing, the rowing, the rudder, the rigging and the harborage. The natural environment is the subject of the third chapter; weather, sea currents, coastlines, visibility from the sea and in the sea; besides, we tried to figure out the navigation strategies of Homeric era sailors in this environment and in these conditions. Consequently, we attempted to discern and understand the motives of a sailor to follow a sea route and we try to describe some of these routes. In the fifth chapter, we discuss the main reasons of sea venturing in Homeric era. Finally, we tried to look into the links between Odysseus and Ithaca, as well as the place of Ithaca in Greek nautical cosmos.

Abstract Title: When book becomes film... – a comparative analysis of the book and film Catch me if you can (När bok blir till film…En jämförande analys av boken och filmen Catch me if you can) Number of pages: 46 Author: Majlinda Juniku Tutor: Amelie Hössjer Course: Media and Communication Studies C Period: Autumn term 2007 University: Division of Media and Communication, Department of Information Science, Uppsala University. Purpose/Aim: To study what model of dramaturgy belongs to the film Catch me if you can and to see what has been crossed out, altered and added from the book so the narrative will fit this model. Material/Method: The film Catch me if you can and the book with the same name has been used to analyze the differences between them. I have divided the differences into three categories: Crossed out, Altered and Added. In the analysis section these have been presented in each section of the film. Main results: Catch me if you can is definetly a film made with the design of the Anglosaxon model, mostly because of its timestructure and that it portrays an action and not just a condition which is normal in the epic-lyric model. Big parts of the story have been crossed out, altered and added to make the film more acceptabel to the audience. Most of the changeshad been done to make the story shorter to fit the timeframe of a film. Events had been joinedtogether to save time but not miss anything. A character, Hanratty, has been reinforced to create a cat-and-mouse story and add excitement to the film. Other changes have been made to make the main character seem more likeable to the audience. Keywords: book, film, dramaturgy, Catch me if you can, anglo-saxon, epic-lyric

This thesis investigates the representation of social reality that can be reflected by folk belief and the supernatural within mythic worlds created in epic poetry. Although the society, itself, can be regarded as the creator of its own myth, it may still be subjected to the impact of the synthesized mythic world, and this study seeks to address the roles of the society in the shaping of such mythic worlds. The research is inspired by an innovative approach, using James Macpherson’s Ossian (1760-63) and Elias Lönnrot’s Kalevala (1835-49) as epic models that benefit from mythical traditions. Through the examination and the comparison of these two epic collections, both of which seem to have a close association with social reformation and restructuring, the study explores the universality of human nature. It also reveals the extent mythic worlds may exhibit the ‘realities’ of their source-societies and how mythical tradition may become a reflection of a society’s transforming past modes of thinking. Moreover, the study devotes special attention to the influence of mythic heritage on national awakening and the construction of national identities. The research treats Macpherson as the re-inventor of Gaelic oral tradition with his Ossian, where he portrays a Romanticized image of a gallant past according to the norms of the eighteenth century. Therefore, the mythic world of the epic can be seen as a combination of an ancient heroic past and the aesthetic refinement of a polished age. In this framework, as the product of a society going through a transition period from traditional to modern, Ossian seems to reflect the society’s changing world-view, both celebrating, and mourning for a culture on the verge of extinction. Focusing on the Kalevala, the study analyzes its portrayal of Finnish folk belief. The Kalevala, like Ossian, is an attempt to recover ancient tradition, which seems to revolve around supernatural and divine elements, with hopes to establish a common social reality. It is an expression of Finnish language, belief and culture, whose production was prompted by the looming Finnish nationalism. Therefore, the evolving mode of thought represented in the mythic world of Kalevalaic poems, is expected and favoured by the society, enabling the epic to encourage a social reformation.

In the canon of twentieth century American poetry, "long poems" or "anti-epics" or epic poems represent a formidable genre. Defining epic poetry has proved difficult in our modern era, and the possibility that women might write epics is not often considered. This study includes a review of the literature that may define the epic genre and of the literature that contributes to our understanding of a tradition of women's poetry in American literature. The review of both issues--possible epic poetry and women's poetic tradition--is a necessary prerequisite for considering the argument that H.D.'s iielen in Eavpt and Gwendolyn Brooks's In the Mecca are twentieth century epics. With the focus on a female heroine, on personal and interpersonal values, and on a reconsideration of cultural lieroism, these poems are important literary contributions in addition to being "revised" epics.A revision of the epic signifies that the poet has found a way to accomplish individual expression in this familiar genre, a genre characterized by narration, cultural themes that may be didactic, and multiple voices for the poet. H.D. and Brooks have revised the genre of epic poetry in unusual ways. H.D. has taken a legendary figure, Helen of Troy, and made her the primary speaker and the seeker of truth. Instead of the classical glorification of war, Helen's quest includes a renunciation of war and a reconsideration of the ways we know ourselves and our history. Brooks has made an "unknown" black woman the center of her urban epic. Mrs. Sallie's quest, initiated by the real search for a missing daughter, becomes a quest for the meaning of family, community, and selfhood.Revising the genre was a unique process for both H.D. and Brooks, and studying Helen and Mecca together emphasizes the diverse traditions--literary and nonliterary--that may elucidate our understanding of each poem. Moreover, only refers to a "a genre revised" by H.D. and Brooks not only refers to a revision of epic poetry but to poetry as a whole. Each woman created her own blend of "traditions and individual talent" in order to produce Helen in Egypt and In the Mecca. / Department of English

This study considers the role of tragedy in Ovid’s Metamorphoses as demonstrated in four different episodes, those of Cadmus, Hercules, Hippolytus, and Medea. I have identified two main themes that the episodes share, namely, generic tension, particularly between epic and tragedy as emphasized by intertextual allusion to Virgil’s Aeneid, and the use of apotheosis as a means of not only transforming the character in question, but also signalling a generic shift, more appropriate for Augustan Rome. However, Ovid’s treatment of tragedy varies dramatically from one narrative to the next. Cadmus’ civic foundation is plagued with tragic themes and his apotheosis occurs only by later substitution. Hercules and Hippolytus achieve relatively standard deifications by pushing past the boundaries of their tragedies, but their refashioned selves are called into question. And the apparent apotheosis of Medea is even less straightforward, as she appears forever preserved in tragedy through meta-literary self-consciousness.

Inaug.-Diss.--Heidelberg. / Vita. Bibliography: p. 98-105.