This thesis argues that the defining characteristic of intra-familial relationships in both the Iliad and the Odyssey is inequality. Homeric relationship pairs that are presented positively are strongly marked by an uneven distribution of power and authority, and when family members do not subscribe to this ideology, the result is a dysfunctional relationship that is condemned by the poet and used as a negative paradigm for his characters. Moreover, the inequality favoured by the epics proceeds according to strict role-based rules with little scope for innovation according to personality, meaning that determination of authority is simple in the majority of cases. Wives are expected to submit themselves to their husbands, sons to their fathers, and less powerful brothers to their more dominant siblings. This rigid hierarchy does create the potential for problems in some general categories of relationship, and relations between mothers and sons in particular are strained in both epics, both because of the shifting power dynamic between them caused by the son’s increasing maturity and independence from his mother and her world, and because of Homeric epic’s persistent conjunction of motherhood with death. This category of familial relationships is portrayed in the epics as doomed to failure, but others are able to be depicted positively through adhering to the inequality that is portrayed in the epics as both natural and laudable. / I will also argue that this systemic pattern of inequality can be understood as equivalent to the Homeric concept of homophrosyne (“like-mindedness”), a term which, despite its appearance of equality, in fact refers to a persistent inequality. Accordingly, for a Homeric relationship to be portrayed as successful, one partner must submit to the other, adapting themselves to the other’s outlook and aims, and subordinating their own ideals and desires. Through this, they are able to become “like-minded” with their partners, achieving something like the homophrosyne recommended for husbands and wives in the Odyssey.

This report examines different approaches to the performance of the Odyssey. The first approach focuses on the internal evidence of the Odyssey, looking at how the Homer’s poems define the singer as a type. The second approach analyzes a selection of sources from the classical period that attests to the performance of the Odyssey. The third approach uses material evidence as a means to reconstruct the music of performance. The internal evidence provides a consistent model for performance that can be correlated with external context. This model can then be used to show how the Odyssey makes use of its own performance. These approaches demonstrate that the material of the poem provides the most compelling account of performance of the Odyssey. The Odyssey presents a consistent model of performance that describes the performer, the manner of performance, and makes use of performance in its own poetry. / text

This dissertation argues that Homer's Iliad depicts the Trojan landscape as participant in or even victim of the Trojan War. This representation alludes to extra-Homeric accounts of the origins of the Trojan War in which Zeus plans the war to relieve the earth of the burden of human overpopulation. In these myths, overpopulation is the result of struggle among the gods for divine kingship. Through this allusion, the Iliad places itself within a framework of theogonic myth, depicting the Trojan War as an essential step in separating the world of gods and the world of men, and making Zeus’ position as the father of gods and men stable and secure. The Introduction covers the mythological background to which the Iliad alludes through an examination of extra-Homeric accounts of the Trojan War’s origins. Chapter One analyzes a pair of similes at Iliad 2.780-85 that compare the Akhaian army to Typhoeus, suggesting that the Trojan War is a conflict similar to Typhoeus’ attempt to usurp Zeus’ position as king of gods and men. Chapter Two demonstrates how Trojan characters are closely linked with the landscape in the poem’s first extended battle scene (4.422-6.35); the deaths of these men are a symbolic killing of the land they defend. Chapter Three discusses the aristeia of Diomedes in Book 5, where his confrontations with Aphrodite, Ares, and Apollo illustrate the heroic tendency to disrespect the status difference between gods and men. Athena’s authorization of Diomedes’ actions reveals the existence of strife among the Olympian gods, which threatens to destabilize the divine hierarchy. Chapter Four examines the Akhaian wall whose eventual destruction is recounted at the beginning of Book 12. The wall symbolizes human impiety and its destruction is a figurative fulfillment of Zeus’ plan to relieve the earth of the burden of unruly humanity. Finally, Chapter Five treats the flußkampf and Theomachy of Books 20 and 21, episodes adapting scenes of divine combat typically associated with the struggle for divine kingship. In the Iliad, these scenes show that Zeus’ power is unassailable. / text

ITC/USA 2006 Conference Proceedings / The Forty-Second Annual International Telemetering Conference and Technical Exhibition / October 23-26, 2006 / Town and Country Resort & Convention Center, San Diego, California / The quantity and types of measurements and measurement instrumentation required for a test are growing. This paper describes a methodology to define and program multi-vendor instrumentation using abstraction models in a database that allows new instrumentation to be defined rapidly. This allows users to support multiple vendors’ systems while using a common user interface to define instrumentation networks, bus catalogs, measurements, pulse code modulated (PCM) formats, and data processing requirements.

From its outset, the Iliad stitches women into the fabric of its story with purpose. How women relate to men is of paramount concern to the poem from the theft of Briseis in Bk. 1 to the closing laments of Bk. 24. Yet studies of men and women’s relationships have largely focused on relative positions of power or on the separation between male and female worlds. This study of male-female relationships of the Iliad takes its inspiration from Odysseus’ exhortation to Nausicaa in Odyssey 6. There the hero endorses ὁμοφροσύνη (“like-mindedness”) between a man and woman as an ideal for a successful relationship and well-maintained household. At its core, Odysseus’ recommendation calls for harmony between two people’s minds and thoughts; however, it does not provide a prescription for how that harmony may be achieved. This dissertation examines how Iliadic women interact with their men and discovers an array of relationships exhibiting what may be called a form of ὁμοφροσύνη, even amid disagreement and strain in a time of stress. In the Iliad, male-female relationships at their best are marked by a way of listening and communicating that helps to absorb or move past conflict and division, that expresses shared understanding, and that seeks out some form of resolution, even if that resolution proves ultimately impermanent. Since each pairing of characters is unique, so too is the manner in which characters attempt or express harmony with their partners. This like-mindedness (ὁμοφροσύνη), however, is not guaranteed to last, or even be present, nor does the poem give it the same compass in every pair. Sometimes we are shown a potential for ὁμοφροσύνη that does not or will not fully actualize, and sometimes we are made privy to the resonance or echoes of a past like-mindedness that is now in crisis. The chapters of this dissertation are arranged by the Iliad’s four central women. Chapter 1 discusses Hekabe’s interactions with Priam and Hector. Chapter 2 investigates Helen’s relationships with Priam, Paris, and Hector. Chapter 3 considers Andromache’s complex relationship with Hector. And Chapter 4 looks at Briseis’ relationships with Achilles and Patroclus. / 2020-11-07T00:00:00Z

This thesis investigates the physical, material, and experiential aspects of thought and emotion in the Iliad and the Odyssey; more specifically, the ways in which the Homeric mind is extended through and by the body, and in which the body and its extensions express, illustrate, and inform psychological processes and mental concepts in Homer. Recent studies in cognitive science—in embodied, extended, embedded, and enactive approaches to mind—demonstrate the extent to which our psychological development is deeply and inextricably shaped not just within the confines of the brain, but also in the body and the world. This thesis seeks to apply these insights to the Iliad and the Odyssey, in order to show how this is also the case for Homer’s characters. In doing so, it primarily argues that Homeric conceptualizations of mind constitute the narrator’s way of presenting a “phenomenology of experience” throughout the poems: a reconstruction of the psychological workings of his characters that draws upon the physical, material, perceptual, and interactional aspects of experience.

This paper addresses the causes and effects of grief within Homer's Iliad. In addition, this paper argues that error, both committed and suffered, is the primary cause of grief, and that grief is particularly transformative in regard to Achilles, both in his motivations and his physicality.

This thesis investigates the impact of transportation — the phenomenon of “being miles away” while receiving a narrative — on audience response. The poetics of narrative reception within the Homeric epics are described and the correspondences with the psychological concept of transportation are used to suggest the appropriateness and utility of this theory to understanding audience responses in and to the Iliad and Odyssey. The ways in which transportation complements and extends some concepts of narrative reception familiar to Homeric studies (the Epic Illusion, Vividness, and Enchantment) are considered, as are the ways in which the psychological theories might be adjusted to accommodate Homeric epic. A major claim is drawn from these theories that transportation fundamentally affects the audience’s interpretation of and responses to the narrative; this claim is tested both theoretically and empirically in terms of ambiguous characterization of Odysseus and the Kyklōps Polyphēmos in the ninth book of the Odyssey. Last, some consideration is given to the ways in which the theory (and its underlying empirical research) might be extended.

Ο στόχος της παρούσας εργασίας είναι η μελέτη της μορφής του Θερσίτη μέσα από την απεικόνισή του στην Ιλιάδα και γενικότερα στο αρχαϊκό έπος.Η μορφή αυτή παρουσιάζει ενδιαφέρον μεταξύ άλλων επειδή αναδεικνύει την κοινωνική διαστρωμάτωση της αρχαϊκής κοινωνίας, όπως αυτή διαφένεται μέσα από την ποιητική αποτύπωση που μας προσφέρει η Ιλιάδα.Η ομηρική κοινωνία, όπως και κάθε άλλη, στηρίζεται στις σχέσεις εκμετάλλευσης της υψηλής κοινωνικής τάξης έναντι της χαμηλής. Το παράδειγμα του Θερσίτη, ο οποίος τολμά να μιλήσει στη συνέλευση των στρατιωτών, χωρίς να υπολογίζει την κυρίαρχη και εξουσιαστική τάξη, μας δείχνει έναν ανυπάκουο, ανένταχτο και με ένα ανατρεπτικό όρο αντιεξουσιαστή επαναστάτη. / -

This dissertation focuses on an aspect of the Iliad that at first might seem particularly formulaic, archaic, and, since Parry, characteristic of orality. When reporting messages, characters frequently repeat large portions of their messages verbatim. In contrast to other speakers, who reveal themselves through speech, messengers are supposedly constrained to repeat the messages that have been dictated to them. The Iliadic messenger has even been described as a “tape recorder” (Létoublon), or a voice “uniquely marked as ‘transparent’” (Barrett). Messengers in the Iliad have been thought to be defined and limited by the convention of verbatim repetition. Despite this prevailing view, I demonstrate, in example after example, the flexibility and expressiveness of messengers in the Iliad. The motif of messages draws attention to the choices messengers make, highlighting their emphases, omissions, and priorities. In diverging from their models and contextualizing their reports, messengers mediate and interpret their messages. These reports point to the poem’s concern with the dynamics of effective (or failed) communication. The Iliad dramatizes communication through messages, e.g., between Zeus and mortals, between the men on the battlefield and women in the city, between intimate conversations and public representations, between an isolated warrior and his community. Beginning with professional messengers, I show how heralds tailor their messages to their audiences, sometimes providing a buffer between kings and others (chapter 1). Iris, the divine messenger, uses a wide variety of approaches, demonstrating that a “faithful” report requires sensitive adaptation. Her interactions offer windows into the characters she addresses (chapter 2). Turning to major characters, I show how Hektor and Priam reveal themselves: Hektor projects a heroic image of Paris and himself, while representing less heroic, private speeches; Priam shows his doubts about divine communication and asserts his own desires (chapter 3). Thetis re-orients the directives she brings, adapting them to her relationships and priorities, thereby revealing divine and human perspectives (chapter 4). Finally, Odysseus and Patroklos are unsuccessful messengers, who both omit great portions of the speeches they report in their efforts to persuade Achilles, and who both fall short of their commissioners’ hopes for their messages (chapter 5). / 2020-11-13T00:00:00Z