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The Odyssey, 2004.
A review of two modern novels that both deal with the theme of a personal odyssey.
1,657 words (approx. 6.6 pages), 3 sources, MLA, £ 27.95
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Abstract
This paper presents a review of two novels, both of which use Homer's ideas in "The Odyssey". The first is Mary Piak Lee's autobiography, "Quiet Odyssey: A Pioneer Korean Woman in America", in which the author travels to America as a child. The second, Lydia Yuri Minatoya's odyssey within her memoir, "In Talking to High Monks in the Snow: An Asian American Odyssey", is also about finding her place in the world.
From the Paper
"Mary Piak Lee's autobiography, Quiet Odyssey: A Pioneer Korean Woman in America, is the story of her childhood in career, and her life after she and her parents move to America. Quiet Odyssey begins unassumingly enough as Paik Lee notes, "Korea, a small country attached to the northeast of china had been independent for centuries before 1882." She notes that the Japanese takeover of Korea in the early 1900s "began a long history of aggression against Korea and created the unhappy world in which the Koreas have lived since 1905. It is in the climate of this political upheaval that Paik Lee's journey begins. She enjoys a quite life in Korea, with extended family."
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"Odyssey" and "O Brother Where Art Thou?"., 2002.
A comparison between Homer's epic novel the 'Odyssey' and the adapted screenplay version of the epic film,"O Brother Where Art Thou?", directed and produced by Joel and Ethan Coen .
1,310 words (approx. 5.2 pages), 4 sources, MLA, £ 22.95
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Abstract
The following paper draws parallels between Homer's "Odyssey" and the Coen Brother's "O Brother Where Art Thou?". In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in a liberal way, changing scenes, settings and characters. The writer compares the original epic and the original screenplay and discusses dozens of small but meaningful comparisons. For instance, Odysseus and his men descend into Hades where they encounter several ghosts from Odysseus's past; in the film the boys meet a fellow inmate who they thought was dead. Odysseus from the original epic and Ulysses from the film (played by George Clooney) both have to prove to their wives that they are true: Ulysses must bring Penny the ring to redeem himself. In the Odyssey, Book 23, Penelope declares that "there are tokens with which we two alone are acquainted," (Butler trans.). Although it was written millennia ago in ancient Greece, the parables of the Odyssey remain extant for a reason: Its themes are universal and accessible and adaptable for all time. The Coen brothers' movie "O Brother Where Art Thou?" exemplifies Homer's timelessness, as well as their own versatility.
From the Paper
"Homer's Odyssey is more than an epic tale of a man "who wandered far and wide," across the sea; it is an archetypal journey with universal and enduring import. It is not difficult to find parallels between Odysseus's adventures and modern ones, for ultimately the Odyssey transcends its details. Homer erected a narrative structure that lends itself to adaptation and reconstruction. Most notable to modern reinterpretations of Homer's Odyssey is James Joyce's Ulysses, which focuses on and develops the relationship between father (Odysseus/Leopold Bloom) and son (Telemachus/Stephen Dedalus). In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in an equally liberal way, changing scenes, settings, and characters. But whereas Joyce's version of the Odyssey is microcosmic, its journey more psychological than physical, the Coen brothers' O Brother Where Art Thou? rambles through a decidedly physical and farcical tale. At first glance the film resembles Homer's epic little: only certain elements are obvious like George Clooney's character's name (Ulysses) and the three sirens by the river. A deeper investigation of the film and the original text reveals numerous, if more subtle, references."
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Homer's "Odyssey", 2002.
A discussion of the moral values of Homer's "Odyssey".
2,038 words (approx. 8.2 pages), 5 sources, APA, £ 33.95
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Abstract
This paper examines the different moral values presented in the epic poem, "The Odyssey" by Homer and the ways in which these values are presented through some of the characters. It shows that while the "Odyssey" is indeed a moral epic, the moral position of the main characters themselves, namely Odysseus and the Gods, can at times be questionable. It evaluates how the "Odyssey" seems to portray the idea that obstacles and hardship arise out of moral weakness, self-control is overwhelmingly important and sufferings come about when a person gives in to temptation as well as love and the importance of family and home.
From the Paper
"Another moral element present in the poem is 'dike'. Justice. In the end, evil will be punished. Good will triumph. Odysseus murders all the suitors and his disloyal servants. It has often been debated whether his actions were justified. Based on the moral value of 'dike', the poet obviously meant the murders to be justified. Evil must be punished, and what better way than to have evil punished by good. The suitors had broken many moral laws. They courted the wife of a great hero, made themselves at home in his palace, ate his food, slept with his servants and conspired to kill his son. They had to receive their punishment, their 'nemesis'- retribution from the Gods. "
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Food in "The Odyssey", 2003.
An analysis of the representation of food in Homer's "Odyssey".
1,349 words (approx. 5.4 pages), 0 sources, £ 23.95
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Abstract
This paper examines how Homer's "Odyssey" is superimposed on the backdrop of a typical ancient Greek society. It looks at how the main character, Odysseus, and his companions travel from place to place on their way to their hometown of Ithaka. Many people host them in a show of hospitality common to ancient Greece; a large part of this hospitality involves the preparation of feasts and giving each guest an ample amount of food. It shows how, although food is positively associated with the Greek tradition of hospitality, Homer uses it negatively in the "Odyssey" to represent the gluttony, lack of self-control, and lack of civility of various characters.
From the Paper
"Upon landing their ship on an island of Lotus-eaters, Odysseus' own men engage in a gluttonous feast of lotus fruit, which causes them to neglect their duties to Odysseus. They are so hypnotized by the delicious taste that "...any of them who ate the honey-sweet fruit...was unwilling to take any message back, or to go away, but they wanted to stay there with the lotus-eating people, feeding on lotus, and forget the way home" (IX:94-97). Odysseus, the leader of the group and at this point the only man in full possession of his faculties, finally takes them back "...weeping, by force, to the ships... under the rowing benches and tied them fast, then gave the order...to embark on the ships in haste, for fear someone else might taste of the lotus and forget the way home..." "
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Homer's "The Odyssey", 2005.
This paper analyzes the topic of dining etiquette in Homer's "The Odyssey".
1,180 words (approx. 4.7 pages), 0 sources, £ 20.95
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Abstract
This paper explores Homer's "The Odyssey" through a discussion of how dining etiquette relates to morality within the epic. The author points out that a large part of Greek hospitality within the society of "The Odyssey" involves the preparation of feasts and giving each guest an ample amount of food served in a ritualistic manner. The paper relates that, in parallel narratives, Odysseus and his son encounter many different ideals of what non-Greeks consider hospitality, each encounter conveying their hosts' morality.
From the Paper
"The knowledge of dining and making sacrifice for the gods does nothing for the survival of the crew of Odysseus. They know dining etiquette; how to eat in a polite and courteous manner, yet eating is the bane of their existence through their own actions, temptations, and through the actions of the mythological beings they encounter. Their respect as shown through courteous dining was ultimately a gesture of appreciation towards their various hosts. Menelaus attests to this etiquette of travelers when Telemakhos comes unannounced to his home. "Could we have made it home again-and Zeus gives us no more hard roving! -If other men had never fed us, given us lodging? ...Here a maid tipped out water for their hands from a golden pitcher into a silver bowl, and set a polished table near at hand; and larder mistress with her tray of loaves and savories came, dispensing all her best, and then a carver heaped their platters high with various meats, and put down cups of gold." (IV.35-37, 56-62)"
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Homer's "The Iliad" and "The Odyssey", 2004.
An analysis of the theme of friendship in Homer's epics, "The Iliad" and "The Odyssey".
1,143 words (approx. 4.6 pages), 2 sources, MLA, £ 20.95
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Abstract
This paper examines how the social structures and human values reflected in Homer's "The Iliad" and "The Odyssey" are as reflective of ancient Greek culture as they are of contemporary society. It looks at how both Achilles in "The Iliad" and Odysseus in "The Odyssey" were men whose personalities were shaped by a strong sense of values, friendship, and duty to family, friends, and society and how both Achilles and Odysseus possess the qualities sought by people through time immemorial in friends.
From the Paper
"To begin with, the very basis of the Trojan War is the betrayal of Menelaus by Paris and Helen. The epic thus starts with an abuse of love, friendship and trust on the one hand, and a war made possible only by familial and social bonds of loyalty, on the other. As Achilles reminds Agamemnon, "I came not warring here for any ill the Trojans had done me. I have no quarrel with them." (The Iliad, 1.157-158) Reflecting on the nature of the familial and social bond in the Iliad, a clear parallel can be drawn to societal functioning right through the history of humanity. To identify the parallel, all that is really required is to consider the immediate rallying around and closing of ranks by family and friends, when any one member of the inner circle is threatened by an outsider, or betrayed by someone from within."
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Homer's "The Odyssey", 2005.
A critical analysis of Homer's "The Odyssey", and the Greek epic narrative style.
900 words (approx. 3.6 pages), 4 sources, £ 18.95
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Abstract
In this literary study, Homer's "The Odyssey" is examined in relation to the unified Epic format of ancient Greece. The writer proposes, that by examining plot structures and character actions in Homer's epic tale of Odysseus, one can realize how Plato critically examines the role of drama versus didactic narrative in the epic genre. The writer further explains that, in essence, the problem of drama in Homer's epic does portend a didactic set of moral principles in which young men should live through the philosophical principles displayed in Plato's Republic. The paper analyzes how the moral lesson of chastity and loyalty, in Book 19 of Homer's "The Odyssey", is presented though the plot structure, which is based on a dramatic marital view of Grecian society.
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Women in Homer's "The Odyssey", 2004.
This paper discusses that the women and goddesses in "The Odyssey" of Homer are the driving forces of the epic and represent the ultimate goal and the wisdom required to reach a goal.
945 words (approx. 3.8 pages), 1 source, £ 17.95
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Abstract
The paper explains that women not only appear in places of honor in "The Odyssey", but also in the day-to-day life of the Homerian society. The author points out that the goddesses, representing key elements in the world that the gods on Olympus oversee, are held in high esteem and are able to exert their power. The paper stresses that most powerful women and goddesses of "The Odyssey " show high levels of intelligence, through which they are able to use their wisdom and deceptive powers to manipulate men to get what they want
Table of Contents
The Role of Mortal Women
The Goddesses' Roles on Olympus,
Where are Women Most Powerful?
From the Paper
"Despite the fact that women play a significant role in "The Odyssey", it is interesting to note that, though many are esteemed, they are identified with fathers, sons and husbands, as if they would not be important if they were not coupled with a male. Odysseus furthers this idea when he says, "but I could not ell over the whole number of them nor name all the women I saw who were the wives and daughters of heroes" (xi 327-329). While Homerian society respects most of the women and women are crucial to the well being of the society, they are subjected to men for their social status and their reputations. In a reprimand of Penelope, Telemachus describes the view men have of women in Homeric society. "[Penelope] go therefore back in the house, and take up your own work, the loom and the distaff, and see to it that your handmaidens ply their work also; but the men must see to discussion . . . For mine is the power in this household (i. 356-360). The result of this view is that women must use their wits to deceive men in order to get their way."
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The 18th century English writer Henry Fielding called the Odyssey "that eating poem." Focusing on specific passages, discuss food as a site of conflict, community, or cultural transaction in the, 2002.
This paper addresses the following question. The 18th century English writer Henry Fielding called the Odyssey "that eating poem."
1,400 words (approx. 5.6 pages), 1 source, £ 27.95
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Abstract
This paper addresses the following question. The 18th century English writer Henry Fielding called the Odyssey "that eating poem." Focusing on specific passages, discuss food as a site of conflict, community, or cultural transaction in the Odyssey.
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"Aeneid" and "Odyssey", 2002.
A comparative analysis of the themes and plot of Virgil's epic, "Aeneid", to Homer's "Odyssey".
1,155 words (approx. 4.6 pages), 0 sources, £ 20.95
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Abstract
This paper examines how many of the elements of Virgil's classic, "Aeneid", are extremely reminiscent of Homer's "Odyssey" and attempts to delineate some of the scenes, methods, and manners that Virgil adapted from the "Odyssey" in formulating the construction of his own classic, great, epic work. It looks at how Virgil attempted to draw many parallels between the two works in terms of their methodology and content. It shows how both works begin in medias res, or in the middle of the action of the story, rather than starting at the initial temporal point of departure for the story, and how both epics deal with the issue of flight from Troy, although one flees in victory and the other in defeat. It also discusses how both heroes encounter women who love them and try to hold them captive because of this love and how both works ultimately are about finding a "home."
From the Paper
"Like the great Homerian work, The Odyssey, Aeneas' story begins in media res, or "in the middle of things." The story does not open on the original action of the book. The Odyssey opens in this similar fashion. Instead of opening just as Odysseus is departing from Troy, the great epic begins by illustrating the scene in which Odysseus is detained by the sea nymph, Calypso. By opening in the middle of things, the story immediately keeps the readers attention and leaves the elements of the past a mystery for later discovery. Similarly, The Aeneid begins not at the temporal beginning of the story but in its middle after Aeneas has already embarked upon his journey. In Book I of the Aeneid, Aeneas gets shipwrecked on the Northern coast of Africa. It is here that he encounters Dido, the Phoenician Queen that is building Carthage."
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Homer's "The Odyssey", 2005.
This paper discusses Homer's epic poem "The Odyssey", translated by Robert Fitzgerald, one of the favorite adventure stories of all times, which tells the story of Odysseus, a clever, often arrogant old soldier, who fought in and won the Trojan War.
1,225 words (approx. 4.9 pages), 5 sources, MLA, £ 21.95
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Abstract
This paper relates that the plot of "The Odyssey" dealt with the question of the significance of a mortal life and the last half of the plot introduces the question of the significance of an anonymous human life. The author emphasizes that the scale and ambition of "The Odyssey" is astonishing because the absence of writing did not allow the Homeric poet any means of cross-checking his own references from other parts of the work; yet somehow, he constructed a work that ranges across all the known and unknown world. The paper stresses that Homer's use of narrative techniques, such as flashbacks, has never been seconded and his characters live and breathe to an extent rivaled only by those of Charles Dickens, Emily Bronte and Mark Twain.
Table of Contents
Introduction
The Plot Analysis
The Beauty of the Plot
Conclusion
From the Paper
"The Odyssey is not a "novel". Had it been one, it would not be the "first novel in history", since it was predated by the Iliad, which was also not a novel. The Odyssey is a work of primary epic, such as Beowulf, Chanson de Roland and the Norse sagas. It was composed in the 8th Century B.C. before the written alphabet had been introduced in Greece. As these facts are grasped, the way is clear for a true appreciation of exactly why this writing has gone on to become the most influential work of literature in all human history."
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The Odyssey, 2004.
A review of the literary work, "The Odyssey", by Homer, focusing on the theme of moral perfidy.
3,360 words (approx. 13.4 pages), 1 source, MLA, £ 49.95
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Abstract
This paper reviews Homer's "The Odyssey", explaining how Homer utilizes the lie as a motif and, in so doing, establishes a moral dichotomy. The paper describes how "The Odyssey" is populated with lies and with liars, but the liars operate differently from one another. The paper assesses how the lies themselves act as methods of characterization.
From the Paper
"In The Odyssey, Odysseus and Penelope both tell lies, and both do so to preserve their homes, but their motivations seem to differ slightly. Penelope tells her lies with a heavy, but faithful, heart. Odysseus lies with relish, seeming to enjoy his skill at dissembling. Both are rewarded, and their intentions are primarily virtuous. However, as at many points in The Odyssey, when wily, brilliant Odysseus is lying, he seems less than empathetic. More often than not, he seems arrogant, displaying the hubris that caused many of his initial problems. Nevertheless, if a liar's motivations are (mostly) pure, the lies themselves seem to be less of a sin and more of a virtue."
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"The Odyssey" and "The Aeneid", 2007.
A comparison of the acquisition of power in "The Odyssey" by Homer and "The Aeneid" by Virgil.
1,337 words (approx. 5.3 pages), 2 sources, MLA, £ 22.95
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Abstract
This paper explores the concept of power in both "The Odyssey" by Homer and "The Aeneid" by Virgil. The paper suggests that within "The Odyssey", power comes to Odysseus through a combination of bravery, versatility, patience and virtue and the approval of the gods. In contrast, it suggests that in "The Aeneid", power comes to Aeneas through piety and the consequent approval of the gods.
From the Paper
"Further, Aeneas is sincerely rather than falsely or conveniently pious toward the gods, which is another of his strengths. We know this because Aeneas is not ever prompted by Venus, his mother, or by any of the other gods or goddesses that are in the Aeneid to be pious or to display piety. Instead, he is simply deeply, sincerely pious, in all circumstances, good ones and bad ones. Aeneas's piety therefore is eventually noticed by all: gods; goddesses, and mortals. Throughout the Aeneid, Aeneas in fact accomplishes all that he eventually does, as a result of his faith; forbearance; and self-control - qualities that are ultimately substantially rewarded by fate within the poem, and that are major sources of Aeneas's power as well."
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The Musical Experience of "2001: A Space Odyssey", 2002.
Examines the film version of "2001: A Space Odyssey" as not only a visual experience, but a musical one as well.
1,007 words (approx. 4.0 pages), 1 source, MLA, £ 18.95
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Abstract
Describes and analyzes the score used in the Stanley Kubrick's adaptation of "2001: A Space Odyssey". The paper provides descriptions of scenes in the movie and the accompanying music and explains the images that the music attempts to project through the use of sound, voice, and silence.
From the Paper
"The film is not only a visual experience; it is also a musical journey. Filmed at a slow pace, the opening scene is an image shot from behind earth's moon with the sun rising over the earth's crescent shape in the blackness of space. This scene shows the earth, moon, and sun in a vertical alignment. Richard Strauss's Thus Spake Zarathustra is playing in the background. This scene is striking and beautiful and Strauss's piece sets the mood for what must be the majestic experience of outer space."
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