<p>In 2004 <em>Troy</em> was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.</p><p> The main purpose of this paper is to see the connection between <em>Troy</em> and Homer’s <em>The Iliad</em> – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How <em>The Iliad</em> mutates to be a marketable product.</p><p>   I discuss the changes of the plot that were introduced in <em>Troy</em> and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.</p><p>   By approaching <em>Troy</em> and <em>The Iliad</em> as two separate cultural products (I did not view <em>Troy</em><em> </em>as a documentary on <em>The Iliad</em>) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.</p>

In 2004 Troy was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.  The main purpose of this paper is to see the connection between Troy and Homer’s The Iliad – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How The Iliad mutates to be a marketable product.    I discuss the changes of the plot that were introduced in Troy and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.    By approaching Troy and The Iliad as two separate cultural products (I did not view Troy as a documentary on The Iliad) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.

Revision of thesis (Ph.D.)--University of Cambridge. / Includes indexes. Bibliography: p. 280-296.

Από τις εμφανίσεις φαντασμάτων στην αρχαιοελληνική λογοτεχνία, άλλες παρουσιάζονται ως ιστορικά γεγονότα, όπως οι εμφανίσεις φαντασμάτων στον Ηρόδοτο, ενώ άλλες υπηρετούν τους σκοπούς του δημιουργού, ενσωματωμένες σε αμιγώς λογοτεχνικά έργα. Η έρευνά μας, επικεντρωμένη στην δεύτερη ομάδα, εξετάζει επιφάνειες φαντασμάτων στον Όμηρο και την αττική τραγωδία, συγκεκριμένα δε αυτές του Πατρόκλου (Ἰλ. Ψ 59-108), του Δαρείου (Πέρσ. 598-842), της Κλυταιμήστρας (Εὐμεν. 94-139) και του Πολυδώρου (Ἑκ. 1-58). Η επιλογή των συγκεκριμένων περιπτώσεων υπαγορεύεται αφενός από την προαναφερθείσα κοινή λογοτεχνική φύση τους, και αφετέρου από την ομοιότητα στα χαρακτηριστικά των σκηνών, δηλαδή των συνθηκών εμφάνισης (χρόνος, χώρος, κατάσταση του ζωντανού δέκτη), της όψης και της συμπεριφοράς των φαντασμάτων (άυλη εμφάνιση, διατήρηση της μορφής, γνωστικό επίπεδο των φαντασμάτων) και της λειτουργίας τους ως λογοτεχνικών χαρακτήρων. Ειδικότερα, ως προς τις συνθήκες εμφάνισης παρατηρείται ισχυρή σύνδεση των φασματικών χαρακτήρων με την νύχτα και τα όνειρα, με την μοναχικότητα του ζωντανού στον οποίο εμφανίζονται, ενώ ο τόπος της εμφάνισης καθορίζεται σε μεγάλο βαθμό από την ευχέρεια που παρέχει στο φάντασμα να επιτύχει την ικανοποίηση των αιτημάτων του. Αναφορικά με την όψη και την συμπεριφορά τους, η έρευνα αποκάλυψε ότι, παρά την άυλη φύση τους (γνωστή ήδη από τους ακυρωμένους εναγκαλισμούς Αχιλλέα-Πατρόκλου στην Ἰλιάδα και Οδυσσέα-Αντίκλειας στην Ὀδύσσεια), οι ψυχές των νεκρών διατηρούν την μορφή του ζωντανού εαυτού τους, ενίοτε φέροντας και τα θανατηφόρα τραύματά τους. Κατά παρόμοιο τρόπο, η συνομιλία μαζί τους εκτυλίσσεται συνήθως σε φυσιολογικές συνθήκες, σαν να πρόκειται δηλαδή για ζωντανό, με εξαίρεση την άγνοιά τους για ορισμένα γεγονότα του Επάνω κόσμου, κυρίως για όσα έχουν συμβεί κατά την παραμονή τους στον Άδη. Τέλος, το αίτημα του φαντάσματος για ταφή ή εκδίκηση εις βάρος του δολοφόνου του (παράμετροι που καθορίζουν σε μεγάλο βαθμό την εμφάνιση), αποσκοπεί στην αποκατάσταση της τάξης (όσον αφορά το ίδιο το φάντασμα και την διαχείριση του νεκρού σώματός του) και, συνεπώς, προωθεί την πλοκή. / Of the appearances of ghosts in the ancient Greek literature, some are incorporated in historical works (such as in the work of Herodotus), whereas others are part of sheer literary works. Our dissertation focuses on four instances from the second category: the ghosts of Patroclus (Iliad 23.59-108), Darius (Aesch. Persae 598-842), Clytemnestra (Aesch. Eumenides 94-139) and Polydorus (Eurip. Hecuba 1-58). The selection of these instances is not only based on their literary context, but mainly on the correspondence on the matters of conditions, in which they make their appearance, on their look and behaviour and, finally, on their function. Particularly, it seems that there is a close connection between ghosts and the night and dreams, as well as with the loneliness of the living person, who meets them. They also seem to appear in places that facilitates the fulfillment of their demand. As for their look, despite their insubstantial nature (known already from the Iliad and Odyssey), the ghosts maintain the appearance of their body, in the case of the biaiothanatoi bearing the wounds, that caused their death. Their knowledge of the Upper World varies, as they sometimes ignore facts, which have happened after their death. Finally, their demand for burial or vengeance against their murderers aims to the instauration of order and, because of its importance, advances the plot.

The present thesis considers the allusive and narrative function of fate and its associated concepts of providence, free will, necessity, and natural law in Paradise Lost. It argues that the narrative function of these concepts is shaped by Milton's allusions to classical epic, and assesses their impact on the Christian theology of the poem. It identifies unnoted allusions to well-known epic models (Homer, Vergil, Lucan), and examines how Lucretius' account of natural laws and post-Vergilian representations of epic aftermath influence Milton's own depiction of transgression and its aftermath in Paradise Lost. Chapter 1 considers Satan and other fallen angels' definition of fate as a materialist alternative for the personal rule of the Father. It traces several allusions to fate in cosmological and ethical settings, in Lucretius, Vergil, Lucan, and Statius, and analyses how these allusions interact with the Hesiodic mythical material in the opening books of Milton's epic. Chapter 2 focuses on a pattern of previously unnoted allusions to Lucretius' De Rerum Natura in the narrative of the Fall, culminating in Book 9. It argues that in his temptation of Eve, Milton's Satan subverts Lucretian teachings about the boundaries governing the physical universe as he persuades Eve to transgress her natural state in Eden. Chapter 3 discusses the appearance of the Father in an allusive epic council scene in Book 3. In the dialogue between Father and Son, I suggest, Milton evokes negotiations between the Homeric and Vergilian deities, depicting his God as surpassing his pagan epic counterparts who can only delay the fate of mortals, but not change them. Chapter 4 suggests that Milton's depiction of the aftermath of the Fall is indebted to post-Vergilian epic narratives of 'aftermath'. The final Books of Paradise Lost and the portrayal of Adam and Eve's moral freedom as they leave paradise, with providence their guide, should be read, I posit, against the backdrop of scenes and imagery from Lucan's Bellum Civile and Statius' Thebaid.

The goal of the theses is to interpret a selected work of A. Lindgren in a theological way. Methodology of the practical part is built on the broad context of early Christian inculturation (interpretation of ancient culture in the Patristic Tradition, introduced in the work of Hugo Rahner), and of the modern philosophical-theological interpretation of secular culture (interpretation of Don Juan in the work of Karel Vrána). The personality of the author A. Lindgren is then described, with emphasis on certain biographical facts which are particularly important for the goal of the theses. The work of German theologian Thomas Vogel is introduced in the Czech environment for the first time. Thomas Vogel is well-known for his Christian interpretations of A. Lindgren?s books. In the final part the author interprets the book Mio, My Son from christological, ecclesiological and eschatological point of view.

A partir da ideia de uma imanência materialista, a tese procura esboçar um sistema estético que se contraponha aos sistemas estéticos românticos e idealistas (principalmente confrontando-­se com noções provenientes do platonismo e do idea-­ lismo alemão e, também, com algumas noções de M. Heidegger). No percurso da tese são centrais as discussões sobre a possibilidade de se pensar por imagens e so-­ bre as implicações filosóficas, políticas, ideológicas e históricas da necessidade de se embaralhar ciência com poesia. O trabalho, pensado a partir de Ulysses de James Joyce, procura compreender o que as concepções de história, filosofia e política po-­ dem aprender com a experiência da literatura e para isso, a tese analisa principalmente as obras de Homero, Platão, G. Vico, Th. Adorno e B. Espinosa; além desses autores, há uma presença forte das obras de K. Marx e S. Beckett. O trabalho se desdobra a partir do capítulo doze de Ulysses, em que Leopold Bloom se confronta com o cidadão. Este confronto, em um pub de Dublin, é a uma espécie de me-­ tempsicose anacrônica do confronto ente Odisseu e Polifemo na caverna homérica. A tese analisa cinco reencarnações históricas deste confronto cavernoso, respecti-­ vamente seguindo a ordem dos capítulos, temos: cap. I -­ Ulysses de Joyce; cap. II a Dialética do Esclarecimento de Adorno e Horkheimer, principalmente Ulisses ou Mito e Esclarecimento; Cap. III a Ciência Nova de Vico, principalmente A descoberta do Verdadeiro Homero; Cap. IV -­ a Odisséia de Homero interpretada por meio da astu-­ ciosa inteligência da Métis grega; Cap. V -­ Ulysses de Joyce, principalmente o cap. XII do romance. A conclusão procura retraçar o percurso da tese, demonstrando como uma ideia de imanência materialista com base na filosofia de Espinosa esteve implíci-­ ta como o fundamento de nossa proposta de uma Estética da Imanência. / Centred on an idea of materialistic immanence, the thesis aims to outline an aesthetic \"system\" in opposition to the romantic and idealistic aesthetic systems (confronting mainly with aesthetic notions from Platonism and German idealism, but also with some notions from M. Heidegger). In the course of the thesis it is central to discuss about the possibility of thinking through images and the implications for philosophical, political and historical need to mix up science with poetry. The work, conceived regarding James Joyce\'s Ulysses, aims to understand what the conceptions of history, philosophy and politics can learn from the experience of literature, for this, the thesis analyses the works of Homer, Plato, G. Vico, Th. Adorno and B. Spino-­ za, in addition to these authors, there is a strong presence of K. Marx and S. Beckett. The work unfolds from the 12th chapter of Ulysses, where Bloom confronts the citi-­ zen. This confrontation in a Dublin pub is an anachronic \"metempsychosis\" of the confrontation between Odysseus and Polyphemus in the Homeric cave present in the Odyssey. The thesis examines five historical \"reincarnations\" of this cavernous confrontation, following the order of the chapters, we have: ch. I -­ Joyce\'s Ulysses; ch. II -­ Dialectic of Enlightenment, especially \'Odysseus or Myth and Enlightenment\' by Adorno and Horkheimer; ch. III -­ New Science, especially \'The discovery of the True Homer\' by Giambattista Vico; ch. IV -­ Homers Odyssey interpreted through the cunning intelligence of the Greek Métis; ch V -­ Joyce\'s Ulysses, especially chap. XII of the novel. The conclusion of the work aims to retrace the course of the thesis demonstrating how an idea of materialistic immanence based on the philosophy of Spinoza was implicitly the fundament of our Aesthetics of Immanence.

Par une analyse comparative de la Bible, Ancien Testament, selon la méthode structurale de Cl. Lévi-Strauss, avec les textes d'Homère, d'Hérodote, de Platon, et d'autres auteurs grecs antiques, il est avancé que la Bible aurait été écrite à l'époque hellénistique, par des auteurs juifs acculturés, éduqués à la grecque. L'Israël biblique tel que raconté dans les livres de Genèse à II Rois serait alors une fiction littéraire inspirée de la Cité idéale des Lois de Platon, nantie de mythes grecs, tirés de l'Enquête d'Hérodote et des principaux cycles de la mythologie grecque (Argonautes, Thèbes, Héraclès, Troie), adaptés en hébreu à des personnages du Proche-Orient (dont certains sont historiques, comme les rois). Par une accumulation de parallèles très précis, aussi bien au niveau des récits que des lois, et le relevé de certains anachronismes, il peut être démontré que l'emprunt s'est fait dans le chef de la Bible envers la littérature grecque, lorsqu'on sait que l'époque hellénistique tardive constitue le terminus ad quem de la Bible, correspondant à l'apparition des premiers manuscrits. En pointant les sources grecques de la Bible, il est montré que les livres de Genèse à Rois auraient été écrits par le même auteur :"l'hypothèse documentaire", édifiée par des théologiens, considérant que la Bible est un assemblage de récits et lois disparates issus de différentes époques de l'histoire d'Israël, hypothèse déjà en désuétude depuis quelques décennies, se trouve contestée par des arguments en faveur d'une unité rédactionnelle, allant de paire avec une datation plus tardive que celles généralement avancées. <p><p>Through a comparative analysis of the Bible, Old Testament, according to the structuralist method of Cl. Lévi-Strauss, with the texts of Homer, Herodotus, Plato, and several other Greek ancient authors, it is stated that the Bible would have been written in the Hellenistic era, by acculturated Jewish authors, educated in a Greek fashion. The Biblical Israel as told in the books of Genesis to II Kings would then be a literary fiction inspired by the Ideal City of Plato's Laws, supported by Greek myths, inspired by Herodotus' Histories and the main Greek mythic cycles (Argonauts, Thebes, Heracles, Troy), adapted in Hebrew to characters of the Ancient Near East (some of them being historical, as the kings). By an acculumation of very accurate parallelisms, and by pointing some anachronisms, it can be shown that the borrowing was made in the head of the Bible to the Greek literature, knowing that late Hellenistic era constitutes the terminus ad quem for the Bible, corresponding to the appearance of the first manuscripts. By pointing the Greek sources of the Bible, it is shown that the books from Genesis to Kings would have been written by the same author.<p>The "documentary hypothesis", built by theologians, considering that the Bible is an assembling of various narratives and laws, coming from differents eras of Israel's history, a hypothesis alreday falling into disuse in the last decades, is challenged by arguments in favor of a redactionnal unity, going along with a later dating than those usually stated. / Doctorat en sciences sociales, Orientation anthropologie / info:eu-repo/semantics/nonPublished

Currently, Sälen area in Sweden is finding issues in the power grid due to an irregular load profile with high peak power demand and an infrastructure that is becoming undersized. Distributed PV-battery systems are considered a possible solution to solve this problem.A PV-battery system for a typical vacation home in this town is designed and optimized to give the best economical solution to the homeowner. Then, a techno-economic evaluation of the system is performed. A photovoltaic system and an only grid connected system are also simulated and compared. Finally, a sensitivity analysis is performed on different simulation inputs.HOMER Grid software is used to simulate and size the system. Firstly, a pre-sized system is modelled using average or typical market prices and component characteristics. Afterwards, real market components that fit into the pre-sized model are modelled to get a real system design. The optimized design includes a PV system of 13 kW, a BYD lithium ion battery of 5.1 kWh capacity and a Sungrow hybrid inverter of 10 kW.The economic evaluation of the system indicates that, with current market prices and subsidies, the optimized system is the most economical solution for the homeowner compared to the other systems. In the sensitivity analysis, a significant risk for the profitability of the system is found on the compensation from selling electricity to the grid.The technical evaluation of the system indicates that the battery provides a significant peak-shaving effect that can benefit the power grid. However, large solar energy sales to the grid with high power peaks that could cause instability issues are observed.

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