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<p>Filmmusic is often composed specially for a film. When analyzing film-music it seems very common to study the function of the music in a narrative context in order to see how it cooperates or relates to this narration. In the present thesis I am investigating the interaction between film and music as two ingredients on an equal level. In short: what happens when a filmmaker chooses music that has already been composed for another occasion, even in another time and a different cultural context? My aim is twofold: first to examine current film analytic strategies, secondly to find new ways of comprehend pre-composed music in relation to its new setting in a film. My interest, thus, is to seek meaning of music in film rather than function.</p><p>The study calls for an inter-disciplinary approach using theories and discussions from a wide range of subjects: psychology, music therapy, anthropology, musicology in general and semantics.</p><p>I am examining two films that are similar in their respect to use music that has been composed and used elsewhere. However, in “2001-a Space Odyssey” Stanley Kubrick uses music from the European art music tradition whereas Woody Allen in “Manhattan” uses music from the popular American music repertoire of the 20s and 30s (The American Songbook). The music, by various composers and in various idioms, in Kubrick´s films, works on a fairly abstract level in a sort of counterpoint to the mythological and visionary contents of the film plot. The meaning of the music on the one hand, and film music on the other operates on a deeper level as a result of this confrontation.</p><p>In Woody Allen´s film the pieces of music represent a culturally and tecknically much more homogenous group. The implicit texts of the songs ( they are never sung) can be comprehended as a commentary on a deeper level by those familiar with this repertoire. Allen´s choice of subject and enacted dramaturgy for his film is very different from Kubrick´s. The chosen music contributes in an independent way to a reciprocal understanding of film and music as two separate but still independent art entities.</p>

Filmmusic is often composed specially for a film. When analyzing film-music it seems very common to study the function of the music in a narrative context in order to see how it cooperates or relates to this narration. In the present thesis I am investigating the interaction between film and music as two ingredients on an equal level. In short: what happens when a filmmaker chooses music that has already been composed for another occasion, even in another time and a different cultural context? My aim is twofold: first to examine current film analytic strategies, secondly to find new ways of comprehend pre-composed music in relation to its new setting in a film. My interest, thus, is to seek meaning of music in film rather than function. The study calls for an inter-disciplinary approach using theories and discussions from a wide range of subjects: psychology, music therapy, anthropology, musicology in general and semantics. I am examining two films that are similar in their respect to use music that has been composed and used elsewhere. However, in “2001-a Space Odyssey” Stanley Kubrick uses music from the European art music tradition whereas Woody Allen in “Manhattan” uses music from the popular American music repertoire of the 20s and 30s (The American Songbook). The music, by various composers and in various idioms, in Kubrick´s films, works on a fairly abstract level in a sort of counterpoint to the mythological and visionary contents of the film plot. The meaning of the music on the one hand, and film music on the other operates on a deeper level as a result of this confrontation. In Woody Allen´s film the pieces of music represent a culturally and tecknically much more homogenous group. The implicit texts of the songs ( they are never sung) can be comprehended as a commentary on a deeper level by those familiar with this repertoire. Allen´s choice of subject and enacted dramaturgy for his film is very different from Kubrick´s. The chosen music contributes in an independent way to a reciprocal understanding of film and music as two separate but still independent art entities.

In questa tesi si analizza il tema di Penelope dal punto di vista della letteratura comparata, alla luce di una selezione di critica recente e con l'intento di redigere una breve serie di saggi critici che siano redatti in varia estensione ed esibiscano tagli differenti. Indagato è quindi, a partire dal testo omerico e poi ovidiano dell'antico personaggio mitologico femminile, un ventaglio di opere poetiche e narrative che ne ripropongono la figura, ricreandone altresì i motivi, all'interno della letteratura occidentale del XX e XXI secolo, in particolare di quella inglese. / In this dissertation I analyze the theme of Penelope from the point of view of comparative literature, in the light of a selection of recent criticism, and with the aim of writing a short series of critical essays that are shaped in various sizes and show a different composition. Starting from Homer's and then Ovid's text of this ancient female mythological character, I thus investigate a choice of poetic and narrative works which renew her figure, by also recreating her motives, within the domain of Western literature of the twentieth and twenty-first century – particularly English literature.

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.

In 2011, a coalition of member states in the North Atlantic Treaty Organization together with partner nations outside of the alliance cooperated against the Libyan regime led by Colonel Muammar Khadaffi. The primary goals of the operations in Libya were to protect the civil population from attacks by the Libyan regime, maintain the no-flyzone and arms embargo. The operations in Libya proved to be successful and many authors claims that airpower were the main key to the victory.John A. Warden III and Robert A. Pape have been mentioned in discussions about airpower and there have also been a debate regarding which theory that best describes how air power should be used. Some authors who have examined the Libyan war claims that the outcome can be understood with John Wardens theories while other claims that it can be understood from Robert Papes theories.This study aims to examine and try to understand the outcome of the air campaign in Libya 2011. Based on the accomplishment of air power in the Libyan civil war along with the debate between John Warden and Robert Pape the conclusion of this study is that the success in the war can be identified in both theories. John Warden’s theory about strategic airpower together with Robert Pape’s theory about direct support of ground forces seems to be the key factor that ended the war with a successful outcome.

This thesis aims to position Circe by Madeline Miller as an example of feminist revisionist mythmaking and investigate some of the novel’s revisionary practices. I thus begin by introducing the project of feminist revisionism, as conceptualized by several different feminist thinkers. I then move on to describe two methods by which Circe reimagines the stories of the Epic Cycle. I argue that the first method, in the analysis of which I primarily use the work of the formalist Caroline Levine on hierarchies, is to subvert gender and immortality – two world-organizing binaries of Greek myth. I then make the argument that Circe also revises myth on the level of narrative, which I support with Teresa de Lauretis’ work on narrative morphology. The study concludes that both these methods are being employed in Circe and are successful in reimagining myth from a feminist perspective. My thesis results in a better understanding of the ways in which Greek myth is being rewritten by contemporary feminists in popular literature.

In his novel Cold Mountain, Charles Frazier weaves an intricate web of human stories, all converging to make a memorable statement about love, war, life, and death. This study examines these stories and the mythological, literary, and folk models Frazier employs, and in some cases revises, to tell them. The first chapter explores how Frazier recreates Odysseus in Inman, his main male character, to depict the psychological trauma inflicted by war. The second chapter focuses on Ada, Inman’s pre-war sweetheart, and Ruby, a girl with whom Ada bonds, as challenges to the male pastoral tradition. Ruby’s father Stobrod as trickster, culture hero, and ultimate keeper/creator of songs is the subject of the third chapter. Since Appalachia so strongly influences each of these characters, whether native or outsider, this thesis will also discuss such sense of place and prove that these stories, though universal, could not take place just anywhere.