Test 2 Flashcards
(262 cards)
1
Q
odyssey takes place during
A
the return of the Greek heroes
2
Q
odysseus’s nostos timeline
A
victory at Troy, travels, Calypso’s island, return to Ithaca
3
Q
The Archaic Period in which the Odyssey was written down
coincided with the
A
Age of Greek Colonization
4
Q
Myths may accrue new meanings depending on
A
how they are told
and read and in what historical context
5
Q
APOLOGOI
A
Odysseus’ narrative of his travels,
recounted in Books 9-12 of the Odyssey
6
Q
epic characteristics
A
-gods, heroes, adventures
-narrative
-dactylic hexameter
7
Q
genre cycle
A
characteristics of
the work influence expectations of
the audience
8
Q
geography
A
-places in the world
-non-narrative
-prose texts
9
Q
NEKUIA
A
summoning and questioning of the dead
10
Q
the use of fantasy to avoid confronting
difficult realities
A
escapism
11
Q
myth involves the disciplines of
A
religion, science, philosophy, history
12
Q
The Odyssey tells one episode of the broader Trojan War, focusing
on
A
Odysseus’ nostos
13
Q
The apologoi has been interpreted as a mythologized geography
of the
A
historical Mediterranean Sea
14
Q
Odysseus’ narrative also contains elements of
A
fantasy that call this
geographical account into question and highlight the uses of
mythology
15
Q
NON-LINEAR
NARRATIVE
A
a story whose order of narration is
different from the order in which its
events occurred
16
Q
IN MEDIAS RES
A
“in the middle of things”
17
Q
Books 1-4 of the Odyssey:
A
Telemachus Searches for Odysseus
18
Q
Books 5-12 of the Odyssey:
A
Odysseus in Scheria
19
Q
EMBEDDED
NARRATIVE
A
a story within the story
20
Q
Books 13-24 of the Odyssey:
A
Odysseus Returns to Ithaca
21
Q
parents of Odysseus
A
Laertes and Anticleia
22
Q
son of Penelope and Odysseus
A
Telemachus
23
Q
Odysseus is related to
A
Hermes
24
Q
Odyssey tells the power struggle between
A
Telemachus
Penelope
Laertes
Odysseus
25
KYRIOS
“guardian,” a male head of household
who had legal authority over female
relatives
26
The Odysseytells a non-linear narrative of
Odysseus’ nostos, divided
between Odysseus’ travels and those at home
27
The sub-stories of Penelope and Aegisthus raise the question of
a
hero’s safety when he returns after an absence
28
The Ithacan side of the Odyssey problematizes
the side-effects of
heroic warfare
29
Alfred, Lord Tennyson
* 19th c. poet (1809-1895)
* Poet Laureate under Queen Victoria
* composed poetry on classical, historical, and
mythological themes
* author of “Ulysses,” a poem on Odysseus’ later
life
30
Odysseus returns to Ithaca in the second half of the Odyssey and
gradually reveals his identity to those he trusts before killing the
suitors
31
The Odyssey raises the question of
to what extent heroes can truly
return from warfare
32
Tennyson’s “Ulysses” offers an interpretation of
Odysseus’ later
years that addresses this question at the heart of the Odyssey
33
Structure of Tragedy
EPISODES and STASIMA (SG. STASIMON)
34
Episodes in tragedy
*progress the plot of the tragedy
*monologues or dialogue among
characters or the characters and the
chorus
*usually three or more over the
course of a tragedy
35
STASIMA in tragedy
*musical interludes by the chorus
*often commenting upon the actions
from the episodes
*alternating with episodes
36
“imitation” or representation, especially
in visual or performance art
mimesis
37
CATHARSIS
“purification,” the emotional release
provided by effective tragedy
38
a set of three tragedies plus one satyr-
play composed by the same playwright
and entered for competition
TETRALOGY
39
Aeschylus’ Oresteia (458 BCE)
Tragedy 1-Agamemnon
Tragedy 2-Libation Bearers
Tragedy 3-Eumenides (The Furies)
Satyr Play-Proteus
40
Agamemnon and Menelaus' father
Atreus
41
children of Clytemnestra and Agamemnon
Iphigenia, Orestes, Electra
42
Oresteia takes place during the
Return of
Greek
Heroes
43
Clytemnestra had an affair with
Aegisthus (Agamemnon's cousin)
44
Aeschylus, author of the Agamemnon and Eumenides, was
one of
three famous tragedians from classical Athens
45
Tragedy is a dramatic genre concerned with
mythology and
designed to create pity and fear
46
The Agamemnon and Eumenides are part of a
tetralogy of
tragedies called the Oresteia
47
dramatic irony
a discrepancy between what the
characters and audience of a play know
48
Aeschylus’ Agamemnon tells the well-known myth of
Agamemnon’s nostos
49
The Agamemnon makes a theme of
knowledge and ignorance
50
Tragedy uses the
shared nature and adaptability of myth to enhance its dramatic effects
51
Hecuba
* wife of Priam
* mother of Hector,
Cassandra, and
Polyxena
* grandmother of
Astyanax
52
Euripides’ Tetralogy: 415 BCE
Tragedy 1-Alexandros
Tragedy 2-Palamedes
Tragedy 3-Troades (Trojan Women)
Satyr Play-Sisyphos
53
Theseus
* mythical hero and
king of Athens
* slayer of the
Minotaur
54
Peloponnesian War
war between Athens, Sparta,
and their allies (431-404 BCE)
55
Euripides’ Trojan Women enacts
a reflection on the aftermath of
warfare for captive women and children
56
Athenians during the Peloponnesian War are implicated in and
threatened with
wartime atrocity in Trojan Women
57
Euripides’ tragedy can be interpreted as
the use of mythology to
challenge dominant ideology in a later time period
58
Jonathan Shay
* clinical psychiatrist and researcher
* works with PTSD patients at a Veteran’s
Affairs clinic
* published two books on the Homeric
epics and the experience of combat
59
Archons in Archaic Athens
ARCHONS and THESMOTHETES
60
archons
1. Eponymous Archon
o civic head of state
2. Polemarch
o commander of the military
3. Archon Basileus
o religious head of state
61
THESMOTHETES
6 junior archons in charge of judicial
matters
62
-proposed a reform of the aeropagus
-assassinated in 461 BCE
Ephialtes
63
Areopagus in
Classical Athens
* council of previous
archons
* responsibilities:
* advising current archons
* trying cases of murder
and other violent crimes
64
FORMALISM
an approach to literature that prioritizes
its form, including its structure, genre,
and use of language
65
RETRIBUTIVE
JUSTICE
justice administered in kind when victims
of crime inflict punishment upon
wrongdoers
66
retributive justice in Eumenides
-Agamemnon sacrifices Iphigenia at Aulis
-Clytemnestra & Aegisthus murder Agamemnon as revenge for Iphgenia's sacrifice
-Orestes murders Clytemnestra & Aegisthus as revenge for Agamemnon's murder
67
ERINYES
Greek name for the Furies, Greek minor
goddesses who exact revenge from those
who harm blood relatives
68
MIASMA
ritual impurity created through certain
crimes, including the murder of one’s
blood relatives
69
Aeschylus on the Areopagus viewpoints
PRO-AREOPAGUS
or
ANTI-AREOPAGUS
70
PRO-AREOPAGUS
*has the divine authority of Athena
*gives a sympathetic verdict in the
murder case
*is a semi-democratic body of citizens
71
ANTI-AREOPAGUS
*seems fairly aristocratic
*gets its deciding vote from a
goddess, not from citizens
72
EUMENIDES
“gracious ones,” an alternative name for
the Furies
73
The Oresteia was produced just after
judicial reforms instituted by
Ephialtes
74
The Oresteia addresses the contemporary question of
justice –
what it is and where it comes from
75
Aeschylus’ view of the reforms of Ephialtes remains
ambiguous
and may be taken as positive or negative
76
preliminary
definition
the telling of stories in and from the
ancient Greek and Roman cultures
77
ANTHROPOMORPHIC
described in terms of human
characteristics
78
TITANOMACHY
the battle between the Titans and the
children of Rheia and Cronos
79
MYTH OF
SUCCESSION
the central narrative of the Theogony,
telling how the Titans succeed the
Primordial gods and are succeeded by the
Olympians
80
COMPARATIVE
MYTHOLOGY
the study of similarities and differences
between myths in related cultures
81
a classification of art or literature based
on its form or themes
genre
82
hymn
-praise of a god
-narrative/characterization
-performance/offering
83
ICONOGRAPHY
the traditional attributes associated with
a mythological figure in visual
representations
84
pediment
A T R I A N G U L A R A R E A I M M E D I AT E LY
B E N E AT H T H E R O O F O N T H E T W O
S H O R T E R S I D E S O F A G R E E K
T E M P L E
85
metopes
R E C TA N G U L A R PA N E L S , O F T E N
D E C O R AT E D T O C R E AT E A F R I E Z E ,
A B O V E T H E C O L U M N S O F A
T E M P L E
86
naos
I N T E R I O R C H A M B E R O F A
T E M P L E
87
Tithonos
beloved of Eos, turned into a
cicada in some versions of
the myth
88
DIDACTIC POETRY
poetry that provides instruction or
education
89
THEODICY
if the gods are good and just, why do evil
and suffering exist?
90
Pandora
pan + dora
"all gifts"
91
SPEAKING NAME
a character name whose etymology is
thematically appropriate to their context
92
Prometheus
forethought
93
Epimetheus
afterthought
94
THE HOMERIC
QUESTION
a debate about how and by whom the
poems attributed to Homer were
composed
95
RECEPTION
the reuse, retelling, or allusion to ancient
artwork or culture in later time periods or
by different cultures
96
a prize given to confer honor in
recognition of status or accomplishments
GERAS
97
THE HEROIC
CODE
the terms of reward and sacrifice that
justify the risks of heroic warfare
98
timē
honor
99
kleos
glory
100
Moral injury
A betrayal of what’s right by someone who holds
legitimate authority in a high
stakes situation
101
ARISTEIA
an episode in the Iliad in which a single
hero excels in battle
102
EKPHRASIS
an extended, often detailed and vivid,
description of a work of art in a literary
text
103
THAUMA
“wonder,” a Greek term used in ekphrasis
to describe an awe-inspiring object
104
philosophy of art
branch of philosophy concerned with defining art and understanding art
105
art-horror
an emotional response to horror art or fiction (as distinct from a response to a real event or circumstance)
106
examples of monsters in mythology
scylla, cyclops, furies, sirens, hundred-handers, minotaur, medusa, laistrygonians
107
ideology is
deeply-held and important, pervasive, explicit and implicit
108
characteristics of mythology
traditional, shared, adaptable, multimedia, authoritative, ongoing
109
Mythology" is a versatile term that includes
stories, how they are told, and what they mean to the society that tells them
110
Helen Morales' three functions of myths
lore, ideology, pleasure
111
ideology
beliefs and assumptions that are widely held among a certain group of people and that may reflect political, philosophical, moral, and other values
112
ideology that a text or image spells out, ideology that the author(s) self-consciously incorporate in what they create
explicit ideology
113
implicit ideology
ideology that is implied by a text or image, ideology that the author(s) and recipient(s) may or may not be consciously aware of
114
pleasure
myths are fun
115
aition
cause
116
marriage in ancient Greece
-an arrangement among men
-purposes: procreation and conservation of wealth
-betrothal (engue) and marriage (ekdosis)
-people involved:
-bride's father or guardian (kyrios)
-husband-to-be (or his family)
-bride
-patrilineality: family and inheritance through the father's side
117
golden age
* peace and prosperity
* no hardship or old age
118
silver age
* stupid and neglectful of the gods
* quarrelsome and violent
119
bronze age
* warlike and mighty
* remarkable only in strength and violence
120
heroic age
* demigods
* skilled in (admirable) war
121
iron age
* suffering hardship and old age
* exhausted and doomed
122
Heinrich Schliemann
amateur archaeologist (1822 -1890)
123
archaeologist of the ancient Mediterranean, author of The Trojan War: A Very Short Introduction
Eric Cline
124
Shay's reading interprets the Iliad as a narrative of
combat trauma, post-traumatic stress, and healing
125
the ancient Greek word for
“homecoming,” often used to refer to the
homeward voyages of heroes after the
Trojan War
nostos
126
an approach to the interpretation of
literature that prioritizes the effect of
contemporary history upon a text
new historicism
127
800 - 480 BCE
archaic period
128
a field of historicist literary criticism that
interprets texts with knowledge of the
history and ongoing effects of colonialism
postcolonialism
129
“hospitality,” the ideal of behavior
between visitors and hosts
xenia
130
a story that uses symbols to represent an
underlying message or meaning that can
be inferred through interpretation
allegory
131
inappropriate application of a concept,
technology, or interpretation from a later
time period to an earlier one
Anachronism
132
new historicism
The Cyclops episode of Odysseus’ travels can be read through the
approach of
133
Odysseus’ narrative of his travels,
recounted in Books 9-12 of the Odyssey
APOLOGOI
134
-gods, heroes, adventures
-narrative
-dactylic hexameter
epic characteristics
135
characteristics of
the work influence expectations of
the audience
genre cycle
136
-places in the world
-non-narrative
-prose texts
geography
137
from the ancient Greek word kuklōps,
meaning “round-eye”
CYCLOPS
138
summoning and questioning of the dead
NEKUIA
139
the use of fantasy to avoid confronting
difficult realities
ESCAPISM
140
religion, science, philosophy, history
myth involves the disciplines of
141
Odysseus’ nostos
The Odyssey tells one episode of the broader Trojan War, focusing
on
142
historical Mediterranean Sea
The apologoi has been interpreted as a mythologized geography
of the
143
fantasy that call this
geographical account into question and highlight the uses of
mythology
Odysseus’ narrative also contains elements of
144
a story whose order of narration is
different from the order in which its
events occurred
NON-LINEAR
NARRATIVE
145
“in the middle of things”
IN MEDIAS RES
146
Telemachus Searches for Odysseus
Books 1-4 of the Odyssey:
147
Odysseus in Scheria
Books 5-12 of the Odyssey:
148
a story within the story
EMBEDDED
NARRATIVE
149
Odysseus Returns to Ithaca
Books 13-24 of the Odyssey:
150
Laertes and Anticleia
parents of Odysseus
151
Telemachus
son of Penelope and Odysseus
152
Telemachus
Penelope
Laertes
Odysseus
Odyssey tells the power struggle between
153
“guardian,” a male head of household
who had legal authority over female
relatives
KYRIOS
154
Odysseus’ nostos, divided
between Odysseus’ travels and those at home
The Odysseytells a non-linear narrative of
155
a
hero’s safety when he returns after an absence
The sub-stories of Penelope and Aegisthus raise the question of
156
the side-effects of
heroic warfare
The Ithacan side of the Odyssey problematizes
157
* 19th c. poet (1809-1895)
* Poet Laureate under Queen Victoria
* composed poetry on classical, historical, and
mythological themes
* author of “Ulysses,” a poem on Odysseus’ later
life
Alfred, Lord Tennyson
158
gradually reveals his identity to those he trusts before killing the
suitors
Odysseus returns to Ithaca in the second half of the Odyssey and
159
to what extent heroes can truly
return from warfare
The Odyssey raises the question of
160
Odysseus’ later
years that addresses this question at the heart of the Odyssey
Tennyson’s “Ulysses” offers an interpretation of
161
from the ancient Greek tragōdia, possibly
meaning “goat song”
TRAGEDY
162
- 6th –5th centuries BCE
o Aeschylus (525 –456)
o Sophocles (497 –406)
o Euripides (480 –406)
-plays written for public performance and competition at
the City Dionysia
-usually (but not always) on mythological themes
Attic Tragedy
163
EPISODES and STASIMA (SG. STASIMON)
Structure of Tragedy
164
*progress the plot of the tragedy
*monologues or dialogue among
characters or the characters and the
chorus
*usually three or more over the
course of a tragedy
Episodes in tragedy
165
*musical interludes by the chorus
*often commenting upon the actions
from the episodes
*alternating with episodes
STASIMA in tragedy
166
“imitation” or representation, especially
in visual or performance art
MIMESIS
167
“purification,” the emotional release
provided by effective tragedy
CATHARSIS
168
a set of three tragedies plus one satyr-
play composed by the same playwright
and entered for competition
TETRALOGY
169
Tragedy 1-Agamemnon
Tragedy 2-Libation Bearers
Tragedy 3-Eumenides (The Furies)
Satyr Play-Proteus
Aeschylus’ Oresteia (458 BCE)
170
Atreus
Agamemnon and Menelaus' father
171
Iphigenia, Orestes, Electra
children of Clytemnestra and Agamemnon
172
Return of
Greek
Heroes
Oresteia takes place during the
173
Aegisthus (Agamemnon's cousin)
Clytemnestra had an affair with
174
one of
three famous tragedians from classical Athens
Aeschylus, author of the Agamemnon and Eumenides, was
175
mythology and
designed to create pity and fear
Tragedy is a dramatic genre concerned with
176
tetralogy of
tragedies called the Oresteia
The Agamemnon and Eumenides are part of a
177
a discrepancy between what the
characters and audience of a play know
dramatic irony
178
knowledge ->expectation-> dramatic-> suspense-> fulfillment-> catharsis
process of tragedy
179
Agamemnon’s nostos
Aeschylus’ Agamemnon tells the well-known myth of
180
knowledge and ignorance
The Agamemnon makes a theme of
181
shared nature and adaptability of myth to enhance its dramatic effects
Tragedy uses the
182
* wife of Priam
* mother of Hector,
Cassandra, and
Polyxena
* grandmother of
Astyanax
Hecuba
183
* lifetime: 480 –406 BCE
* composed approximately 90 plays
* surviving: 18 tragedies + 1 satyr-play
* arguably the most subversive of the Attic
tragedians
Euripides
184
Tragedy 1-Alexandros
Tragedy 2-Palamedes
Tragedy 3-Troades (Trojan Women)
Satyr Play-Sisyphos
Euripides’ Tetralogy: 415 BCE
185
* mythical hero and
king of Athens
* slayer of the
Minotaur
Theseus
186
war between Athens, Sparta,
and their allies (431-404 BCE)
Peloponnesian War
187
a reflection on the aftermath of
warfare for captive women and children
Euripides’ Trojan Women enacts
188
wartime atrocity in Trojan Women
Athenians during the Peloponnesian War are implicated in and
threatened with
189
the use of mythology to
challenge dominant ideology in a later time period
Euripides’ tragedy can be interpreted as
190
* clinical psychiatrist and researcher
* works with PTSD patients at a Veteran’s
Affairs clinic
* published two books on the Homeric
epics and the experience of combat
Jonathan Shay
191
Archons in Archaic Athens
ARCHONS and THESMOTHETES
192
1. Eponymous Archon
o civic head of state
2. Polemarch
o commander of the military
3. Archon Basileus
o religious head of state
archons
193
6 junior archons in charge of judicial
matters
THESMOTHETES
194
* council of previous
archons
* responsibilities:
* advising current archons
* approving incoming
archons and reviewing
outgoing archons
* trying crimes against the
state
* trying cases of murder
and other violent crimes
Areopagus in
Archaic Athens
195
-proposed a reform of the aeropagus
-assassinated in 461 BCE
Ephialtes
196
* council of previous
archons
* responsibilities:
* advising current archons
* trying cases of murder
and other violent crimes
Areopagus in
Classical Athens
197
an approach to literature that prioritizes
its form, including its structure, genre,
and use of language
FORMALISM
198
justice administered in kind when victims
of crime inflict punishment upon
wrongdoers
RETRIBUTIVE
JUSTICE
199
-Agamemnon sacrifices Iphigenia at Aulis
-Clytemnestra & Aegisthus murder Agamemnon as revenge for Iphgenia's sacrifice
-Orestes murders Clytemnestra & Aegisthus as revenge for Agamemnon's murder
retributive justice in Eumenides
200
Greek name for the Furies, Greek minor
goddesses who exact revenge from those
who harm blood relatives
ERINYES
201
ritual impurity created through certain
crimes, including the murder of one’s
blood relatives
MIASMA
202
an explanation of something’s cause or
origin
AETIOLOGY
203
PRO-AREOPAGUS
or
ANTI-AREOPAGUS
Aeschylus on the Areopagus viewpoints
204
*has the divine authority of Athena
*gives a sympathetic verdict in the
murder case
*is a semi-democratic body of citizens
PRO-AREOPAGUS
205
*seems fairly aristocratic
*gets its deciding vote from a
goddess, not from citizens
ANTI-AREOPAGUS
206
“gracious ones,” an alternative name for
the Furies
EUMENIDES
207
judicial reforms instituted by
Ephialtes
The Oresteia was produced just after
208
justice –
what it is and where it comes from
The Oresteia addresses the contemporary question of
209
ambiguous
and may be taken as positive or negative
Aeschylus’ view of the reforms of Ephialtes remains
210
the telling of stories in and from the
ancient Greek and Roman cultures
preliminary
definition
211
described in terms of human
characteristics
ANTHROPOMORPHIC
212
to reach, to stretch
Titan
"titaino"
213
the battle between the Titans and the
children of Rheia and Cronos
TITANOMACHY
214
the central narrative of the Theogony,
telling how the Titans succeed the
Primordial gods and are succeeded by the
Olympians
MYTH OF
SUCCESSION
215
a request to a god or divinity for
assistance or inspiration at the opening of
a poem or other literary work
INVOCATION
216
the study of similarities and differences
between myths in related cultures
COMPARATIVE
MYTHOLOGY
217
a classification of art or literature based
on its form or themes
GENRE
218
-praise of a god
-narrative/characterization
-performance/offering
hymn
219
the traditional attributes associated with
a mythological figure in visual
representations
ICONOGRAPHY
220
A T R I A N G U L A R A R E A I M M E D I AT E LY
B E N E AT H T H E R O O F O N T H E T W O
S H O R T E R S I D E S O F A G R E E K
T E M P L E
pediment
221
R E C TA N G U L A R PA N E L S , O F T E N
D E C O R AT E D T O C R E AT E A F R I E Z E ,
A B O V E T H E C O L U M N S O F A
T E M P L E
metopes
222
I N T E R I O R C H A M B E R O F A
T E M P L E
naos
223
beloved of Eos, turned into a
cicada in some versions of
the myth
Tithonos
224
poetry that provides instruction or
education
DIDACTIC POETRY
225
if the gods are good and just, why do evil
and suffering exist?
THEODICY
226
"all gifts"
Pandora
pan + dora
227
a character name whose etymology is
thematically appropriate to their context
SPEAKING NAME
228
forethought
Prometheus
229
afterthought
Epimetheus
230
a debate about how and by whom the
poems attributed to Homer were
composed
THE HOMERIC
QUESTION
231
ancient city and site of
excavations considered to be
of Troy
Hisarlık
232
the reuse, retelling, or allusion to ancient
artwork or culture in later time periods or
by different cultures
RECEPTION
233
a prize given to confer honor in
recognition of status or accomplishments
GERAS
234
the terms of reward and sacrifice that
justify the risks of heroic warfare
THE HEROIC
CODE
235
honor
timē
236
glory
kleos
237
A betrayal of what’s right by someone who holds
legitimate authority in a high
stakes situation
Moral injury
238
an episode in the Iliad in which a single
hero excels in battle
ARISTEIA
239
an extended, often detailed and vivid,
description of a work of art in a literary
text
EKPHRASIS
240
“wonder,” a Greek term used in ekphrasis
to describe an awe-inspiring object
THAUMA
241
branch of philosophy concerned with defining art and understanding art
philosophy of art
242
an emotional response to horror art or fiction (as distinct from a response to a real event or circumstance)
art-horror
243
scylla, cyclops, furies, sirens, hundred-handers, minotaur, medusa, laistrygonians
examples of monsters in mythology
244
deeply-held and important, pervasive, explicit and implicit
ideology is
245
traditional, shared, adaptable, multimedia, authoritative, ongoing
characteristics of mythology
246
stories, how they are told, and what they mean to the society that tells them
Mythology" is a versatile term that includes
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lore, ideology, pleasure
Helen Morales' three functions of myths
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a myth is a story
lore
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beliefs and assumptions that are widely held among a certain group of people and that may reflect political, philosophical, moral, and other values
ideology
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ideology that a text or image spells out, ideology that the author(s) self-consciously incorporate in what they create
explicit ideology
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ideology that is implied by a text or image, ideology that the author(s) and recipient(s) may or may not be consciously aware of
implicit ideology
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myths are fun
pleasure
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cause
aition
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-an arrangement among men
-purposes: procreation and conservation of wealth
-betrothal (engue) and marriage (ekdosis)
-people involved:
-bride's father or guardian (kyrios)
-husband-to-be (or his family)
-bride
-patrilineality: family and inheritance through the father's side
marriage in ancient Greece
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* peace and prosperity
* no hardship or old age
golden age
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* stupid and neglectful of the gods
* quarrelsome and violent
silver age
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* warlike and mighty
* remarkable only in strength and violence
bronze age
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* demigods
* skilled in (admirable) war
heroic age
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* suffering hardship and old age
* exhausted and doomed
iron age
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amateur archaeologist (1822 -1890)
Heinrich Schliemann
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archaeologist of the ancient Mediterranean, author of The Trojan War: A Very Short Introduction
Eric Cline
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combat trauma, post-traumatic stress, and healing
Shay's reading interprets the Iliad as a narrative of
