Thesis (Ph. D.)--Christian-Albrecht-Universität zu Kiel, 1962. / Includes bibliographical references (leaves iii-viii).

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This thesis discusses depictions of stories from Homer's Odyssey to ancient art. The thesis is divided into ten chapters. The first chapter is devoted to Homer and the Odyssey, where closely acquainted with Homer's perception of the person and his iconography, as well as a focus on the importance and value of his literary work. In the second chapter I try bringing different perspectives of researchers on locations of Odysseus's journey, which also briefly introduces Odysseu's stops in connection with the story. The following chapters focus on individual stories and becoming familiar with their iconography in connection with the literary pattern. I realize the extent to which individual scenes were shown from the perspective of chronological and geographical, eventually on what types of artistic monuments (vase painting, reliefs and sculpture, murals, mosaics, etc.). Together I am trying to explain the reasons for eventual higher frequency of certain themes. Keywords Homer, Odysseus, iconography, Greek Art, Etruscan Art, Roman Art

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In order to reconcile the deus ex machina at the end of Sophocles' Philoctetes with the actions of the rest of the play, this project analyzes the role of Odysseus within the play with special attention to rhetoric. By considering the character of Odysseus as a complex construct referencing both literary and historical contexts, this study suggests that Neoptolemus in fact errs in siding with Philoctetes to the degree that he does by the tragedy's end. The themes of the play involving Philoctetes and Neoptolemus then become warnings against inappropriate emotional responses, again consistent with Heracles' advice in the deus ex machina at the play's end.

Auch in jüngeren Jahren waren die Verae Historiae Gegenstand einer Fülle verschiedener Interpretationen, die den Facettenreichtum dieses Meisterwerks Lukians verdeutlichen. So wurde die Schrift beispielsweise als Sonderform des Reiseromans gelesen2, als Parodie auf den Liebesroman3 oder gar als Anti-Roman4; sie wurde als Utopieparodie gedeutet5 oder als Parodie zeitgenössischer philosophischer Lehren und Lebensformen6; und betont metaliterarische Interpretationen sahen in den Verae Historiae eine stark intertextuell geprägte Schrift, die den Leser damit zur Reflexion über sein Selbstverständnis als literarisch Gebildeter einlade7, oder einen impliziten Diskurs über das Verhältnis von philosophischen Inhalten und poetischer Darstellungsform8. Unbestritten ist aber, dass die Schiffsreise des Erzählers ‘Lukian’9 und seiner Gefährten einen mythischen Hintergrund aufweist, der neben dem Argonautenzug10 vor allem in der Seereise des Odysseus besteht. Doch auch in dieser Beziehung ist, wie die folgende Arbeit deutlich machen möchte, das Potential des Texts noch nicht ausgeschöpft, und es lässt sich insbesondere zeigen, dass die abschließende Reise ‘Lukians’ zum großen neuen Kontinent Züge der zweiten Reise des Odysseus übernimmt und damit wahrscheinlich auch auf neuere allegorische Deutungen der Abenteuerfahrt des Odysseus reagiert

The aim of the present thesis is to introduce different types of cunning intelligence in Greek mythology and their role in the broader context of Greek thought. The subject matter is explored using representative mythic figures and situations. The pivotal problem is the relationship between cunning tricks and both cultural and divine order. The first part is concerned with greek expressions connected to cunning tricks and their possible meanings. The subsequent section deals with the forms of cunning as they can be seen in the charecters of Hermes and Odysseus and considers the way in which cunning tricks can be beneficial to order. A comparison with other cunning characters and myths of origins of rituals follow in the final chapter. It concludes with determining in which context a cunning trick is acceptable. In conclusion it is argued that cunning intelligence bears a culturally constitutive function and may even be beneficial in existing order. However, its positive role is manifested maily in the primordial state of the universe when cultural order is not clearly delimited. Cunning intelligence always remains ambivalent and a paradox. Its ambiguity is most apparent in clearly defined and structured cultural order.

Zugl.: München, Univ., Diss., 2005/06