Test 2 Flashcards

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1
Q

odyssey takes place during

A

the return of the Greek heroes

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2
Q

odysseus’s nostos timeline

A

victory at Troy, travels, Calypso’s island, return to Ithaca

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3
Q

The Archaic Period in which the Odyssey was written down
coincided with the

A

Age of Greek Colonization

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4
Q

Myths may accrue new meanings depending on

A

how they are told
and read and in what historical context

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5
Q

APOLOGOI

A

Odysseus’ narrative of his travels,
recounted in Books 9-12 of the Odyssey

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6
Q

epic characteristics

A

-gods, heroes, adventures
-narrative
-dactylic hexameter

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7
Q

genre cycle

A

characteristics of
the work influence expectations of
the audience

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8
Q

geography

A

-places in the world
-non-narrative
-prose texts

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9
Q

NEKUIA

A

summoning and questioning of the dead

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10
Q

the use of fantasy to avoid confronting
difficult realities

A

escapism

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11
Q

myth involves the disciplines of

A

religion, science, philosophy, history

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12
Q

The Odyssey tells one episode of the broader Trojan War, focusing
on

A

Odysseus’ nostos

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13
Q

The apologoi has been interpreted as a mythologized geography
of the

A

historical Mediterranean Sea

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14
Q

Odysseus’ narrative also contains elements of

A

fantasy that call this
geographical account into question and highlight the uses of
mythology

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15
Q

NON-LINEAR
NARRATIVE

A

a story whose order of narration is
different from the order in which its
events occurred

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16
Q

IN MEDIAS RES

A

“in the middle of things”

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17
Q

Books 1-4 of the Odyssey:

A

Telemachus Searches for Odysseus

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18
Q

Books 5-12 of the Odyssey:

A

Odysseus in Scheria

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19
Q

EMBEDDED
NARRATIVE

A

a story within the story

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20
Q

Books 13-24 of the Odyssey:

A

Odysseus Returns to Ithaca

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21
Q

parents of Odysseus

A

Laertes and Anticleia

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22
Q

son of Penelope and Odysseus

A

Telemachus

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23
Q

Odysseus is related to

A

Hermes

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24
Q

Odyssey tells the power struggle between

A

Telemachus
Penelope
Laertes
Odysseus

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25
Q

KYRIOS

A

“guardian,” a male head of household
who had legal authority over female
relatives

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26
Q

The Odysseytells a non-linear narrative of

A

Odysseus’ nostos, divided
between Odysseus’ travels and those at home

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27
Q

The sub-stories of Penelope and Aegisthus raise the question of

A

a
hero’s safety when he returns after an absence

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28
Q

The Ithacan side of the Odyssey problematizes

A

the side-effects of
heroic warfare

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29
Q

Alfred, Lord Tennyson

A
  • 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
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30
Q

Odysseus returns to Ithaca in the second half of the Odyssey and

A

gradually reveals his identity to those he trusts before killing the
suitors

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31
Q

The Odyssey raises the question of

A

to what extent heroes can truly
return from warfare

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32
Q

Tennyson’s “Ulysses” offers an interpretation of

A

Odysseus’ later
years that addresses this question at the heart of the Odyssey

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33
Q

Structure of Tragedy

A

EPISODES and STASIMA (SG. STASIMON)

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34
Q

Episodes in tragedy

A

*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

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35
Q

STASIMA in tragedy

A

*musical interludes by the chorus
*often commenting upon the actions
from the episodes
*alternating with episodes

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36
Q

“imitation” or representation, especially
in visual or performance art

A

mimesis

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37
Q

CATHARSIS

A

“purification,” the emotional release
provided by effective tragedy

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38
Q

a set of three tragedies plus one satyr-
play composed by the same playwright
and entered for competition

A

TETRALOGY

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39
Q

Aeschylus’ Oresteia (458 BCE)

A

Tragedy 1-Agamemnon
Tragedy 2-Libation Bearers
Tragedy 3-Eumenides (The Furies)
Satyr Play-Proteus

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40
Q

Agamemnon and Menelaus’ father

A

Atreus

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41
Q

children of Clytemnestra and Agamemnon

A

Iphigenia, Orestes, Electra

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42
Q

Oresteia takes place during the

A

Return of
Greek
Heroes

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43
Q

Clytemnestra had an affair with

A

Aegisthus (Agamemnon’s cousin)

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44
Q

Aeschylus, author of the Agamemnon and Eumenides, was

A

one of
three famous tragedians from classical Athens

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45
Q

Tragedy is a dramatic genre concerned with

A

mythology and
designed to create pity and fear

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46
Q

The Agamemnon and Eumenides are part of a

A

tetralogy of
tragedies called the Oresteia

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47
Q

dramatic irony

A

a discrepancy between what the
characters and audience of a play know

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48
Q

Aeschylus’ Agamemnon tells the well-known myth of

A

Agamemnon’s nostos

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49
Q

The Agamemnon makes a theme of

A

knowledge and ignorance

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50
Q

Tragedy uses the

A

shared nature and adaptability of myth to enhance its dramatic effects

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51
Q

Hecuba

A
  • wife of Priam
  • mother of Hector,
    Cassandra, and
    Polyxena
  • grandmother of
    Astyanax
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52
Q

Euripides’ Tetralogy: 415 BCE

A

Tragedy 1-Alexandros
Tragedy 2-Palamedes
Tragedy 3-Troades (Trojan Women)
Satyr Play-Sisyphos

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53
Q

Theseus

A
  • mythical hero and
    king of Athens
  • slayer of the
    Minotaur
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54
Q

Peloponnesian War

A

war between Athens, Sparta,
and their allies (431-404 BCE)

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55
Q

Euripides’ Trojan Women enacts

A

a reflection on the aftermath of
warfare for captive women and children

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56
Q

Athenians during the Peloponnesian War are implicated in and
threatened with

A

wartime atrocity in Trojan Women

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57
Q

Euripides’ tragedy can be interpreted as

A

the use of mythology to
challenge dominant ideology in a later time period

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58
Q

Jonathan Shay

A
  • 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
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59
Q

Archons in Archaic Athens

A

ARCHONS and THESMOTHETES

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60
Q

archons

A
  1. Eponymous Archon
    o civic head of state
  2. Polemarch
    o commander of the military
  3. Archon Basileus
    o religious head of state
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61
Q

THESMOTHETES

A

6 junior archons in charge of judicial
matters

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62
Q

-proposed a reform of the aeropagus
-assassinated in 461 BCE

A

Ephialtes

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63
Q

Areopagus in
Classical Athens

A
  • council of previous
    archons
  • responsibilities:
    • advising current archons
    • trying cases of murder
      and other violent crimes
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64
Q

FORMALISM

A

an approach to literature that prioritizes
its form, including its structure, genre,
and use of language

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65
Q

RETRIBUTIVE
JUSTICE

A

justice administered in kind when victims
of crime inflict punishment upon
wrongdoers

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66
Q

retributive justice in Eumenides

A

-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

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67
Q

ERINYES

A

Greek name for the Furies, Greek minor
goddesses who exact revenge from those
who harm blood relatives

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68
Q

MIASMA

A

ritual impurity created through certain
crimes, including the murder of one’s
blood relatives

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69
Q

Aeschylus on the Areopagus viewpoints

A

PRO-AREOPAGUS
or
ANTI-AREOPAGUS

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70
Q

PRO-AREOPAGUS

A

*has the divine authority of Athena
*gives a sympathetic verdict in the
murder case
*is a semi-democratic body of citizens

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71
Q

ANTI-AREOPAGUS

A

*seems fairly aristocratic
*gets its deciding vote from a
goddess, not from citizens

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72
Q

EUMENIDES

A

“gracious ones,” an alternative name for
the Furies

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73
Q

The Oresteia was produced just after

A

judicial reforms instituted by
Ephialtes

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74
Q

The Oresteia addresses the contemporary question of

A

justice –
what it is and where it comes from

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75
Q

Aeschylus’ view of the reforms of Ephialtes remains

A

ambiguous
and may be taken as positive or negative

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76
Q

preliminary
definition

A

the telling of stories in and from the
ancient Greek and Roman cultures

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77
Q

ANTHROPOMORPHIC

A

described in terms of human
characteristics

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78
Q

TITANOMACHY

A

the battle between the Titans and the
children of Rheia and Cronos

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79
Q

MYTH OF
SUCCESSION

A

the central narrative of the Theogony,
telling how the Titans succeed the
Primordial gods and are succeeded by the
Olympians

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80
Q

COMPARATIVE
MYTHOLOGY

A

the study of similarities and differences
between myths in related cultures

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81
Q

a classification of art or literature based
on its form or themes

A

genre

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82
Q

hymn

A

-praise of a god
-narrative/characterization
-performance/offering

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83
Q

ICONOGRAPHY

A

the traditional attributes associated with
a mythological figure in visual
representations

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84
Q

pediment

A

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

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85
Q

metopes

A

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

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86
Q

naos

A

I N T E R I O R C H A M B E R O F A
T E M P L E

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87
Q

Tithonos

A

beloved of Eos, turned into a
cicada in some versions of
the myth

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88
Q

DIDACTIC POETRY

A

poetry that provides instruction or
education

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89
Q

THEODICY

A

if the gods are good and just, why do evil
and suffering exist?

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90
Q

Pandora
pan + dora

A

“all gifts”

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91
Q

SPEAKING NAME

A

a character name whose etymology is
thematically appropriate to their context

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92
Q

Prometheus

A

forethought

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93
Q

Epimetheus

A

afterthought

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94
Q

THE HOMERIC
QUESTION

A

a debate about how and by whom the
poems attributed to Homer were
composed

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95
Q

RECEPTION

A

the reuse, retelling, or allusion to ancient
artwork or culture in later time periods or
by different cultures

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96
Q

a prize given to confer honor in
recognition of status or accomplishments

A

GERAS

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97
Q

THE HEROIC
CODE

A

the terms of reward and sacrifice that
justify the risks of heroic warfare

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98
Q

timē

A

honor

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99
Q

kleos

A

glory

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100
Q

Moral injury

A

A betrayal of what’s right by someone who holds
legitimate authority in a high
stakes situation

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101
Q

ARISTEIA

A

an episode in the Iliad in which a single
hero excels in battle

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102
Q

EKPHRASIS

A

an extended, often detailed and vivid,
description of a work of art in a literary
text

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103
Q

THAUMA

A

“wonder,” a Greek term used in ekphrasis
to describe an awe-inspiring object

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104
Q

philosophy of art

A

branch of philosophy concerned with defining art and understanding art

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105
Q

art-horror

A

an emotional response to horror art or fiction (as distinct from a response to a real event or circumstance)

106
Q

examples of monsters in mythology

A

scylla, cyclops, furies, sirens, hundred-handers, minotaur, medusa, laistrygonians

107
Q

ideology is

A

deeply-held and important, pervasive, explicit and implicit

108
Q

characteristics of mythology

A

traditional, shared, adaptable, multimedia, authoritative, ongoing

109
Q

Mythology” is a versatile term that includes

A

stories, how they are told, and what they mean to the society that tells them

110
Q

Helen Morales’ three functions of myths

A

lore, ideology, pleasure

111
Q

ideology

A

beliefs and assumptions that are widely held among a certain group of people and that may reflect political, philosophical, moral, and other values

112
Q

ideology that a text or image spells out, ideology that the author(s) self-consciously incorporate in what they create

A

explicit ideology

113
Q

implicit ideology

A

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
Q

pleasure

A

myths are fun

115
Q

aition

A

cause

116
Q

marriage in ancient Greece

A

-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
Q

golden age

A
  • peace and prosperity
  • no hardship or old age
118
Q

silver age

A
  • stupid and neglectful of the gods
  • quarrelsome and violent
119
Q

bronze age

A
  • warlike and mighty
  • remarkable only in strength and violence
120
Q

heroic age

A
  • demigods
  • skilled in (admirable) war
121
Q

iron age

A
  • suffering hardship and old age
  • exhausted and doomed
122
Q

Heinrich Schliemann

A

amateur archaeologist (1822 -1890)

123
Q

archaeologist of the ancient Mediterranean, author of The Trojan War: A Very Short Introduction

A

Eric Cline

124
Q

Shay’s reading interprets the Iliad as a narrative of

A

combat trauma, post-traumatic stress, and healing

125
Q

the ancient Greek word for
“homecoming,” often used to refer to the
homeward voyages of heroes after the
Trojan War

A

nostos

126
Q

an approach to the interpretation of
literature that prioritizes the effect of
contemporary history upon a text

A

new historicism

127
Q

800 - 480 BCE

A

archaic period

128
Q

a field of historicist literary criticism that
interprets texts with knowledge of the
history and ongoing effects of colonialism

A

postcolonialism

129
Q

“hospitality,” the ideal of behavior
between visitors and hosts

A

xenia

130
Q

a story that uses symbols to represent an
underlying message or meaning that can
be inferred through interpretation

A

allegory

131
Q

inappropriate application of a concept,
technology, or interpretation from a later
time period to an earlier one

A

Anachronism

132
Q

new historicism

A

The Cyclops episode of Odysseus’ travels can be read through the
approach of

133
Q

Odysseus’ narrative of his travels,
recounted in Books 9-12 of the Odyssey

A

APOLOGOI

134
Q

-gods, heroes, adventures
-narrative
-dactylic hexameter

A

epic characteristics

135
Q

characteristics of
the work influence expectations of
the audience

A

genre cycle

136
Q

-places in the world
-non-narrative
-prose texts

A

geography

137
Q

from the ancient Greek word kuklōps,
meaning “round-eye”

A

CYCLOPS

138
Q

summoning and questioning of the dead

A

NEKUIA

139
Q

the use of fantasy to avoid confronting
difficult realities

A

ESCAPISM

140
Q

religion, science, philosophy, history

A

myth involves the disciplines of

141
Q

Odysseus’ nostos

A

The Odyssey tells one episode of the broader Trojan War, focusing
on

142
Q

historical Mediterranean Sea

A

The apologoi has been interpreted as a mythologized geography
of the

143
Q

fantasy that call this
geographical account into question and highlight the uses of
mythology

A

Odysseus’ narrative also contains elements of

144
Q

a story whose order of narration is
different from the order in which its
events occurred

A

NON-LINEAR
NARRATIVE

145
Q

“in the middle of things”

A

IN MEDIAS RES

146
Q

Telemachus Searches for Odysseus

A

Books 1-4 of the Odyssey:

147
Q

Odysseus in Scheria

A

Books 5-12 of the Odyssey:

148
Q

a story within the story

A

EMBEDDED
NARRATIVE

149
Q

Odysseus Returns to Ithaca

A

Books 13-24 of the Odyssey:

150
Q

Laertes and Anticleia

A

parents of Odysseus

151
Q

Telemachus

A

son of Penelope and Odysseus

152
Q

Telemachus
Penelope
Laertes
Odysseus

A

Odyssey tells the power struggle between

153
Q

“guardian,” a male head of household
who had legal authority over female
relatives

A

KYRIOS

154
Q

Odysseus’ nostos, divided
between Odysseus’ travels and those at home

A

The Odysseytells a non-linear narrative of

155
Q

a
hero’s safety when he returns after an absence

A

The sub-stories of Penelope and Aegisthus raise the question of

156
Q

the side-effects of
heroic warfare

A

The Ithacan side of the Odyssey problematizes

157
Q
  • 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
A

Alfred, Lord Tennyson

158
Q

gradually reveals his identity to those he trusts before killing the
suitors

A

Odysseus returns to Ithaca in the second half of the Odyssey and

159
Q

to what extent heroes can truly
return from warfare

A

The Odyssey raises the question of

160
Q

Odysseus’ later
years that addresses this question at the heart of the Odyssey

A

Tennyson’s “Ulysses” offers an interpretation of

161
Q

from the ancient Greek tragōdia, possibly
meaning “goat song”

A

TRAGEDY

162
Q
  • 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
A

Attic Tragedy

163
Q

EPISODES and STASIMA (SG. STASIMON)

A

Structure of Tragedy

164
Q

*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

A

Episodes in tragedy

165
Q

*musical interludes by the chorus
*often commenting upon the actions
from the episodes
*alternating with episodes

A

STASIMA in tragedy

166
Q

“imitation” or representation, especially
in visual or performance art

A

MIMESIS

167
Q

“purification,” the emotional release
provided by effective tragedy

A

CATHARSIS

168
Q

a set of three tragedies plus one satyr-
play composed by the same playwright
and entered for competition

A

TETRALOGY

169
Q

Tragedy 1-Agamemnon
Tragedy 2-Libation Bearers
Tragedy 3-Eumenides (The Furies)
Satyr Play-Proteus

A

Aeschylus’ Oresteia (458 BCE)

170
Q

Atreus

A

Agamemnon and Menelaus’ father

171
Q

Iphigenia, Orestes, Electra

A

children of Clytemnestra and Agamemnon

172
Q

Return of
Greek
Heroes

A

Oresteia takes place during the

173
Q

Aegisthus (Agamemnon’s cousin)

A

Clytemnestra had an affair with

174
Q

one of
three famous tragedians from classical Athens

A

Aeschylus, author of the Agamemnon and Eumenides, was

175
Q

mythology and
designed to create pity and fear

A

Tragedy is a dramatic genre concerned with

176
Q

tetralogy of
tragedies called the Oresteia

A

The Agamemnon and Eumenides are part of a

177
Q

a discrepancy between what the
characters and audience of a play know

A

dramatic irony

178
Q

knowledge ->expectation-> dramatic-> suspense-> fulfillment-> catharsis

A

process of tragedy

179
Q

Agamemnon’s nostos

A

Aeschylus’ Agamemnon tells the well-known myth of

180
Q

knowledge and ignorance

A

The Agamemnon makes a theme of

181
Q

shared nature and adaptability of myth to enhance its dramatic effects

A

Tragedy uses the

182
Q
  • wife of Priam
  • mother of Hector,
    Cassandra, and
    Polyxena
  • grandmother of
    Astyanax
A

Hecuba

183
Q
  • lifetime: 480 –406 BCE
  • composed approximately 90 plays
  • surviving: 18 tragedies + 1 satyr-play
  • arguably the most subversive of the Attic
    tragedians
A

Euripides

184
Q

Tragedy 1-Alexandros
Tragedy 2-Palamedes
Tragedy 3-Troades (Trojan Women)
Satyr Play-Sisyphos

A

Euripides’ Tetralogy: 415 BCE

185
Q
  • mythical hero and
    king of Athens
  • slayer of the
    Minotaur
A

Theseus

186
Q

war between Athens, Sparta,
and their allies (431-404 BCE)

A

Peloponnesian War

187
Q

a reflection on the aftermath of
warfare for captive women and children

A

Euripides’ Trojan Women enacts

188
Q

wartime atrocity in Trojan Women

A

Athenians during the Peloponnesian War are implicated in and
threatened with

189
Q

the use of mythology to
challenge dominant ideology in a later time period

A

Euripides’ tragedy can be interpreted as

190
Q
  • 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
A

Jonathan Shay

191
Q

Archons in Archaic Athens

A

ARCHONS and THESMOTHETES

192
Q
  1. Eponymous Archon
    o civic head of state
  2. Polemarch
    o commander of the military
  3. Archon Basileus
    o religious head of state
A

archons

193
Q

6 junior archons in charge of judicial
matters

A

THESMOTHETES

194
Q
  • 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
A

Areopagus in
Archaic Athens

195
Q

-proposed a reform of the aeropagus
-assassinated in 461 BCE

A

Ephialtes

196
Q
  • council of previous
    archons
  • responsibilities:
    • advising current archons
    • trying cases of murder
      and other violent crimes
A

Areopagus in
Classical Athens

197
Q

an approach to literature that prioritizes
its form, including its structure, genre,
and use of language

A

FORMALISM

198
Q

justice administered in kind when victims
of crime inflict punishment upon
wrongdoers

A

RETRIBUTIVE
JUSTICE

199
Q

-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

A

retributive justice in Eumenides

200
Q

Greek name for the Furies, Greek minor
goddesses who exact revenge from those
who harm blood relatives

A

ERINYES

201
Q

ritual impurity created through certain
crimes, including the murder of one’s
blood relatives

A

MIASMA

202
Q

an explanation of something’s cause or
origin

A

AETIOLOGY

203
Q

PRO-AREOPAGUS
or
ANTI-AREOPAGUS

A

Aeschylus on the Areopagus viewpoints

204
Q

*has the divine authority of Athena
*gives a sympathetic verdict in the
murder case
*is a semi-democratic body of citizens

A

PRO-AREOPAGUS

205
Q

*seems fairly aristocratic
*gets its deciding vote from a
goddess, not from citizens

A

ANTI-AREOPAGUS

206
Q

“gracious ones,” an alternative name for
the Furies

A

EUMENIDES

207
Q

judicial reforms instituted by
Ephialtes

A

The Oresteia was produced just after

208
Q

justice –
what it is and where it comes from

A

The Oresteia addresses the contemporary question of

209
Q

ambiguous
and may be taken as positive or negative

A

Aeschylus’ view of the reforms of Ephialtes remains

210
Q

the telling of stories in and from the
ancient Greek and Roman cultures

A

preliminary
definition

211
Q

described in terms of human
characteristics

A

ANTHROPOMORPHIC

212
Q

to reach, to stretch

A

Titan
“titaino”

213
Q

the battle between the Titans and the
children of Rheia and Cronos

A

TITANOMACHY

214
Q

the central narrative of the Theogony,
telling how the Titans succeed the
Primordial gods and are succeeded by the
Olympians

A

MYTH OF
SUCCESSION

215
Q

a request to a god or divinity for
assistance or inspiration at the opening of
a poem or other literary work

A

INVOCATION

216
Q

the study of similarities and differences
between myths in related cultures

A

COMPARATIVE
MYTHOLOGY

217
Q

a classification of art or literature based
on its form or themes

A

GENRE

218
Q

-praise of a god
-narrative/characterization
-performance/offering

A

hymn

219
Q

the traditional attributes associated with
a mythological figure in visual
representations

A

ICONOGRAPHY

220
Q

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

A

pediment

221
Q

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

A

metopes

222
Q

I N T E R I O R C H A M B E R O F A
T E M P L E

A

naos

223
Q

beloved of Eos, turned into a
cicada in some versions of
the myth

A

Tithonos

224
Q

poetry that provides instruction or
education

A

DIDACTIC POETRY

225
Q

if the gods are good and just, why do evil
and suffering exist?

A

THEODICY

226
Q

“all gifts”

A

Pandora
pan + dora

227
Q

a character name whose etymology is
thematically appropriate to their context

A

SPEAKING NAME

228
Q

forethought

A

Prometheus

229
Q

afterthought

A

Epimetheus

230
Q

a debate about how and by whom the
poems attributed to Homer were
composed

A

THE HOMERIC
QUESTION

231
Q

ancient city and site of
excavations considered to be
of Troy

A

Hisarlık

232
Q

the reuse, retelling, or allusion to ancient
artwork or culture in later time periods or
by different cultures

A

RECEPTION

233
Q

a prize given to confer honor in
recognition of status or accomplishments

A

GERAS

234
Q

the terms of reward and sacrifice that
justify the risks of heroic warfare

A

THE HEROIC
CODE

235
Q

honor

A

timē

236
Q

glory

A

kleos

237
Q

A betrayal of what’s right by someone who holds
legitimate authority in a high
stakes situation

A

Moral injury

238
Q

an episode in the Iliad in which a single
hero excels in battle

A

ARISTEIA

239
Q

an extended, often detailed and vivid,
description of a work of art in a literary
text

A

EKPHRASIS

240
Q

“wonder,” a Greek term used in ekphrasis
to describe an awe-inspiring object

A

THAUMA

241
Q

branch of philosophy concerned with defining art and understanding art

A

philosophy of art

242
Q

an emotional response to horror art or fiction (as distinct from a response to a real event or circumstance)

A

art-horror

243
Q

scylla, cyclops, furies, sirens, hundred-handers, minotaur, medusa, laistrygonians

A

examples of monsters in mythology

244
Q

deeply-held and important, pervasive, explicit and implicit

A

ideology is

245
Q

traditional, shared, adaptable, multimedia, authoritative, ongoing

A

characteristics of mythology

246
Q

stories, how they are told, and what they mean to the society that tells them

A

Mythology” is a versatile term that includes

247
Q

lore, ideology, pleasure

A

Helen Morales’ three functions of myths

248
Q

a myth is a story

A

lore

249
Q

beliefs and assumptions that are widely held among a certain group of people and that may reflect political, philosophical, moral, and other values

A

ideology

250
Q

ideology that a text or image spells out, ideology that the author(s) self-consciously incorporate in what they create

A

explicit ideology

251
Q

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

A

implicit ideology

252
Q

myths are fun

A

pleasure

253
Q

cause

A

aition

254
Q

-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

A

marriage in ancient Greece

255
Q
  • peace and prosperity
  • no hardship or old age
A

golden age

256
Q
  • stupid and neglectful of the gods
  • quarrelsome and violent
A

silver age

257
Q
  • warlike and mighty
  • remarkable only in strength and violence
A

bronze age

258
Q
  • demigods
  • skilled in (admirable) war
A

heroic age

259
Q
  • suffering hardship and old age
  • exhausted and doomed
A

iron age

260
Q

amateur archaeologist (1822 -1890)

A

Heinrich Schliemann

261
Q

archaeologist of the ancient Mediterranean, author of The Trojan War: A Very Short Introduction

A

Eric Cline

262
Q

combat trauma, post-traumatic stress, and healing

A

Shay’s reading interprets the Iliad as a narrative of