Mythology is an integral part of literature and an important cornerstone in a student's education. However, mythology itself is an extremely broad topic that encompasses the myths of a number of cultures. In the Language Arts classroom, students are introduced to Greek mythology in middle school; in the state of Florida as early as sixth grade per the Sunshine State Standards. However, students might find difficulty connecting to Greek literature difficult due to issues of: voice, prose and an inability to see the relevance behind the study of Greek mythology. In addition, the immensity of Greek mythology makes it difficult to select what pieces to teach and what to omit, but as Roy Thomas, the author of this version of the Marvel Comic's adaptation states "[e]very generation should have its own translation of The Iliad, one that speaks to it in its own special way'' (p. iii). The purpose of this study is to conduct a content analysis of a graphic novel version of The Iliad by Homer, with the intent of identifying the benefits of using alternative versions of classic literature within the Language Arts or Reading classroom, specifically the graphic novel. In hopes of demystifying the negative stigma with which comics, and graphic novels by extension, this thesis will study the attributed of this graphic novel and ultimately provide educators insight into a medium that has the potential to engage students in a multiple modes.

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.

Orientador: Fernando Brandão dos Santos / Banca: Anise de Abreu Gonçalves D'Orange Ferreira / Banca: Marisa Giannecchini Gonçalves de Souza / Resumo: Este trabalho analisa a relação entre o humano e o divino no âmbito das ações realizadas pelos homens e a responsabilidade que eles teriam ou não sobre elas, na Ilíada. Para tanto, verifica a concepção de homem em Homero, buscando mostrar o homem como unidade capaz de realizar ações e analisa a concepção divina associada às ideias de vontade de Zeus e de Destino, que afetariam a noção de responsabilidade na ação humana. Portanto, desejamos mostrar que as decisões próprias do homem não alteram o curso dos acontecimentos, uma vez que, na Ilíada, deparamos com a mentalidade mítica na qual divindade e homem se completam através de oposições / Abstract: This study analyzes the relationship between the human and the divine in the context of the actions carried out by men, and the responsibility that they would have on them or not, in the Iliad. To do so, it verifies the conception of man in Homer, trying to show the man as a unit capable of performing actions and analyzes the divine conception associated with the ideas of will of Zeus and Destiny, which would affect the notion of responsibility in the human action. Therefore, we wish to show that the man's own decisions do not change the sequences of events, once, in the Iliad, we faced with the mythical mentality in which divinity and man complete each other through opposition / Mestre

This thesis explores the forms and significance of dispute settlement by arbitration, or ‘δίκη’, in the Iliad. I take as my focus the ‘storm simile’ of Iliad XVI: 384-393, which describes Zeus’ theodical reaction to corruption within the δίκη-court, and the ‘shield trial’ of Iliad XVIII: 498-508, which presents a detailed picture of such a court in action, and compare the forms and conception of arbitration that emerge from these two ecphrastic passages with those found in the narrative body of the poem. Analysing the terminology and procedures associated with dispute settlement in the Iliad, I explore the evidence for the development of an ‘ideology of δίκη’, that valorises arbitrated settlement as a solution to conflict, and that identifies δίκη as a procedure and a civic institution with an objective standard of fairness: the foundation of a civic concept of ‘justice’. I argue that this ideology is fully articulated in the storm simile and the shield trial, as well as Hesiod’s Works and Days, but that it is also detectable in the narrative body of the Iliad. I further argue that the poet of the Iliad employs references to this ideology, through the narrative media of speech and ecphrasis, to prompt and direct his audience’s evaluation of the nature and outcome of the poem’s central conflict: the dispute of Achilles and Agamemnon.

This study is about how Athena is portrayed in two of the surviving works of antiquity, the Iliad and the Hymn to Athena by Callimachus. The study further shows in comparison of the two works, how Athena can be described based on her emotions, attributes, actions and character traits. In relation to the Iliad, Athena comes to express emotions such as frustration, dissatisfaction, anger, hatred, happiness, joy and as loving. Furthermore, the analysis of the Iliad has been able to identify actions and character traits such as cunning, persuasion, incitement, courage, eager and quickness. Athena has also been able to be attributed characteristics in relation to her as a goddess of war and her father Zeus within the analysis. The characteristics that emerged during the analysis are the goddess as terrifying, angry, with destructive powers, that she never tires, terrible deity and based on her epithet Tritogeneia.   Through analysis of the Hymn to Athena by Callimachus, the goddess can be attributed to emotions such as pity and love. Unlike the Iliad, emotions of a negative nature such as frustration, dissatisfaction and anger do not appear in the hymn. Furthermore, other actions and character traits can also be attributed to Athena in the hymn, such as female beauty and personal hygiene. The majority of epithets and designations can be attributed to the goddess within the hymn, which, unlike the Iliad, is more numerous in number. The epithets and designations that are claimed are polisgoddess, queen, lady and Thebes. Like other identifications attributed to Athena within the hymn, epithets and designations can be related to context. That in the sense that worshipers want to see Athena appear in their company, which is most likely to happen if they address the goddess with respectful words.

La petite cité grecque d’Ilion offre un exemple original d’identité civique complexe mêlant éléments grecs et « barbares » (i. e. non grecs) grâce à l’utilisation des différents mythes liés à la guerre de Troie. Cette construction identitaire mythique s’enracine dans un site particulièrement riche où les différents niveaux archéologiques se superposent et s’enchevêtrent de l’âge du Bronze à l’époque romaine (Troie I à IX). Elle est aussi nourrie de diverses influences, anatoliennes et égéennes, particulièrement sensibles dans le cas d’Ilion car cette cité, située au bord de l’Hellespont, se trouve en situation de carrefour géopolitique et culturel entre Europe et Asie. Le sanctuaire d’Athéna Ilias joue un rôle central dans l’identité, les mythes et l’histoire de la cité. Mais ce sanctuaire est aussi le centre d’une association religieuse regroupant plusieurs autres cités, principalement de Troade mais aussi d’au-delà, comme Myrléa en Propontide et même Chalcédoine sur le Bosphore, qui administrent en commun le sanctuaire et participent à des panégyries et des concours sacrés en l’honneur de cette divinité à la fois civique et fédérale. L’autre principal lieu de culte d’Ilion, le « Sanctuaire Ouest », témoigne lui aussi d’influences à la fois européennes et asiatiques. / This PhD thesis intends to offer a synthesis concerning the Greek city-State of Ilion. This city-State offers an original example of a complex civic identity which mixes Greek and “barbaric” (i.e. non-Greek) elements through the use of different myths relating to the Trojan war. This mythical construction of identity is rooted in a particularly rich site where the various archaeological levels are superimposed and tangled together, from the Bronze age to the Roman period (Troy I to IX), as evidenced by H. Schliemann, the inventor of the site, which is still nowadays being excavated by German and American teams. Ilion’s identity is also fueled by various influences, Anatolian and Aegean, that are particularly sensitive because of the fact that the city is located at a geopolitical and cultural crossroad between Europe and Asia. The sanctuaries of Ilion play a central role in the identity, the myths and the history of the city, especially the sanctuary of Athena Ilias. It is the centre of a religious association (koinon) which regroups several other cities, from Troad and even beyond, who administer the sanctuary together and participate in festivals and sacred games in honor of this divinity that is both civic and federal. The second main cult site of Ilion, called “West Sanctuary”, is also a testimony of European and Asian influences.

[pt] Tendo como princípio a inquietação causada pelo questionamento de Sócrates no Hípias Menor de Platão (363a-364c): Qual personagem, entre Aquiles e Odisseu, seria superior? A presente dissertação leva em consideração o direcionamento do diálogo acerca do que seja a mentira segundo a ótica platônica, e dedica-se especificamente a descobrir quem destes poderia ser compreendido como um mentiroso: entre Aquiles e Odisseu, quem estaria mentindo? Primeiramente a pesquisa deseja averiguar as definições que sejam provenientes do diálogo platônico, para em seguida retornar para a cena da epopeia homérica em que seja possível definir para qual herói caberia a alcunha de mentiroso. Abalizado pelos critérios extraídos do diálogo entre Sócrates e Hípias, a busca pela cena que atenda às definições necessárias para a mentira se direciona às tragédias, onde o Filoctetes de Sófocles se sobressai entre as demais remanescentes, por atender aos critérios e nos permitir examinar a mentira de modo a justapor definições e critérios à cena que melhor exemplifica o caso. Em suma, metodologicamente tenta-se conjecturar para além do que se vê no diálogo Hípias Menor, buscando exemplo mais oportuno do que aquele dado pelo sofista a Sócrates, contudo, sem deixar de atentar para os argumentos e definições expostas, deseja-se chegar mais próximo de uma compreensão menos aporética deste diálogo, lançando mão do exemplo como um recurso didático que pode ajudar concomitantemente na compreensão do que seja a mentira, ao mesmo passo que se observe quem seja um mentiroso. / [en] Taking as a principle the uneasiness caused by Socrates questioning in Plato s Hippias Minor (363a-364c): which character, between Achilles and Odysseus, would be superior? This dissertation takes into account the direction of the dialogue about the lie according to the Platonic perspective, and is dedicated specifically to discover who could be understood as a liar: between Achilles and Odysseus, who would be lying? First, the research wants to ascertain the definitions that come from the Platonic dialogue, and then return to the scene of the Homeric epic where is possible to define which hero would be named as the liar. By the assignments taken as criteria drawn from the dialogue between Socrates and Hippias, the search for the scene that meets the necessary definitions for the lie is targeted to the tragedies, where the Sophocle s Philoctetes excels among the plays remaining fully, to revel the criteria and allowing us to examine the lie in order to juxtapose definitions and criteria to the scene that best exemplifies the case. In sum, this dissertation tries methodologically to conjecture for beyond what is seen in Hippias Minor, seeking a more opportune example than that given by the Sophist to Socrates, yet without neglecting the arguments and definitions set forth, it is desired to get closer to a complete understanding of this dialogue, using example as a didactic resource that can help concomitantly in the understanding of what is the lie, at the same time as observing who could be a liar.

Dans le contexte d’une mise en question sans cesse renouvelée des hiérarchies sociales et culturelles dans les sociétés occidentales contemporaines, dont rend compte le développement des études culturelles depuis les années 1960, la publication d’un grand nombre de réécritures romanesques de l’Iliade témoigne d’un mouvement réflexif de la littérature vis-à-vis de sa propre histoire. En observant les tensions dynamiques à l’œuvre dans la rencontre du roman et du discours épique, ce travail de thèse entend proposer une approche du champ littéraire qui ne soit pas fondée sur la division de ce dernier entre culture artistique et culture à destination du grand public, mais conçue sous l’angle d’un partage transmédiatique et transculturel. L’analyse des réécritures romanesques de l’Iliade révèle en effet une convergence des procédés et des discours de part et d’autre du « grand partage » littéraire, au service d’une réflexion commune sur le caractère problématique du canon littéraire. La confrontation des discours épique et romanesque contribue à l’élaboration d’une pensée démocratique de la société, qui repose sur la construction d’un espace narratif traversé par une pluralité de discours génériques et de références culturelles. / Challenging the social and cultural hierarchies which are still authoritative in our contemporary Western societies has been a long-lasting concern of Cultural Studies ever since their development in the 1960s. As evidenced by the great amount of novels set in the fictional world of the Trojan War, which prove themselves to be genuine rewritings of the Iliad narrative, the Western canon and its relevance are equally scrutinized by contemporary novelists. By studying the dynamic conflicts which underlie the encounter between epic discourse and the genre of the novel, this dissertation intends to dispute the concept of a “Great Divide” between artistic and popular culture, and to prove that literature is a transcultural medium. A close study of a few contemporary novelisations of the Iliad brings to light existing shared narrative techniques and discourses undermining the legitimacy of the Western canon. Through the remodeling of the epic genre and its conventions, the novel assumes a democratic approach to society which stems from a narrative architecture hinging on a multiplicity of generic discourses and cultural references.

The (in)visible Briseis. A comparative literary analysis of the relationship between Achilles, Patroclus and Briseis in Homer’s Iliad and Pat Barker’s The Silence of the Girls The purpose of this essay is to compare the relationship between Achilles and Patroclus in Homer’s Iliad (700s BC) and Pat Barker’s The Silence of the Girls (2019), while also looking into the role of Briseis and how the story differs when it is told from her point of view. Through the analysis I find that the relationship between Achilles and Patroclus have always been intense. I argue, however, that the intensity is given more depth and meaning when described from different perspectives, such as that of Briseis and Achilles himself, as is done in The Silence of the Girls. With the help of Kevin Goddard’s theory of the male gaze, the perspective of both Briseis and Achilles become invaluable for interpreting the relationship between the characters, as well as the characters themselves. For Achilles, the gaze of his mother influences him in a negative way in his relationship with Briseis, while the gaze of Patroclus causes changes in his mentality. I argue that this has to do with the Oedipus complex. For once, Briseis is not invisible and even though she continues to be the slave everyone expects her to be, she is, through the gaze, able to create her own story once that of Achilles ends. It is still the story of the great Achilles, but one in which he is also human.

(in English): The aim of the present work is to offer an up-to-date synopsis based on historical data and textual evidence that would give a coherent description of the long-discussed question of the mutual relations between the Hittite (or Anatolian) and the Greek world in the period of the Late Bronze Age. In order to do so, various data from different scientific fields were put together. After a brief introduction to onomastics and the history of the Greco-Anatolian studies follows the main part of the work which deals with probably mutually borrowed anthropo- and toponyms in these languages from both a diachronic and synchronic point of view.