Podcasts about Agamemnon

Most people approach The Iliad expecting the Trojan Horse. Instead, they find something darker: a story about wounded pride, uncontrollable rage, brutal violence and the moment vengeance finally gives way to pity.In this review, I break down Samuel Butler's translation of Homer's epic, the feud between Achilles and Agamemnon, Hector's terrifying presence, the petty interference of the gods, the oral tradition behind the poem, and whether a modern reader should actually tackle this ancient monster of a book.00:00 — An Ancient Epic in My Hands00:42 — The Samuel Butler Translation01:03 — Did Homer Actually Write The Iliad?02:23 — What Is an Epic Poem?03:05 — This Is Not the Trojan Horse Story03:40 — Achilles, Hector and the Gods04:53 — How This Edition Structures the Story06:15 — The Core of The Iliad: Rage07:33 — Achilles Loses Everything08:19 — The Gods Are Petty as Hell09:49 — Violence, Nature and Ancient Imagery11:41 — The Sections I Fast-Read13:19 — The Power of Oral Storytelling15:00 — The Brutality of Battle15:43 — Hector Smashes Through the Gates17:29 — No Simple Villains, Only Human Beings18:13 — Honour, Glory and the Heroic Code19:03 — Should You Read The Iliad?19:22 — The Odyssey Review Is Coming Connect with Mere Mortals:Website: https://www.meremortalspodcasts.com/Discord: https://discord.gg/Xs9DjsurFqTwitter/X: https://twitter.com/meremortalspodsInstagram: https://www.instagram.com/meremortalspodcasts/TikTok: https://www.tiktok.com/@meremortalspodcastsValue 4 Value Support:Website: https://www.meremortalspodcasts.com/supportPaypal: https://www.paypal.com/paypalme/meremortalspodcast

Today on Ascend: The Great Books Podcast, Dcn. Harrison Garlick discusses Books 11-12 of the Odyssey with Dr. Frank Grabowski and Mr. Luke Heintschel, the Academic Headmaster of Coeur du Christ Academy.Check out Ascend's LIBRARY of written guides and SOCIAL MEDIA. Check out Luke's Substack at CoCrucified and Dr. Grabowski's at Porch & Altar.SummaryListeners are taken on Odysseus' harrowing katabasis into the underworld, where he confronts shades of the dead, including his mother, the tragic Agamemnon, and especially Achilles, whose devastating reflection on glory versus life delivers one of the most “blood on the floor” moments in Western literature. The conversation masterfully unpacks themes of piety, humanization, fate and free will, and the meaning of a well-lived life, while drawing illuminating connections to Plato, Dante, Boethius, and the Christian tradition.The discussion continues into Book 12 with the irresistible Sirens, the terror of Scylla and Charybdis, and the fateful transgression with the Cattle of the Sun. Throughout, the guests offer sharp insight into Odysseus's evolving character, the tensions between cunning and virtue, and why these ancient stories remain essential for forming minds today. Whether you're a longtime lover of Homer or new to the Great Books, this episode delivers rich intellectual conversation, pedagogical wisdom, and profound reflections that will leave you eager to pick up the text—or re-read it with fresh eyes.Chapters00:00 Introduction to the Great Books Podcast06:01 Exploring the Odyssey: Books 11 and 1212:54 The Theme of Descent into the Underworld16:57 Elpenor's Ignoble Death and Its Significance23:42 Tiresias and the Prophecies for Odysseus31:43 Fate vs. Free Will in the Odyssey38:29 The Role of Women in the Odyssey43:24 The Significance of Penelope in the Odyssey45:48 Odysseus' Emotional Journey and Family Dynamics53:13 Agamemnon's Narrative and the Role of Women58:32 Achilles' Regret and the Nature of Glory01:09:41 Ajax's Silence and the Weight of Honor01:17:53 Exploring the Underworld: Tantalus and Heracles01:20:34 Odysseus's Descent: Fear and Fate in Hades01:21:38 Homer's Philosophical Insights: Preparing for Christ01:22:29 Homer as a Teacher and Philosopher01:24:15 The Sirens: Temptation and Knowledge01:33:46 Scylla and Charybdis: Leadership and Sacrifice01:39:31 The Cattle of the Sun: Fate and Free Will01:46:04 Odysseus's Reflection: Mortality and LeadershipKeywordsHomer Odyssey Books 11 and 12, Odyssey Book 11 summary and analysis, Odyssey Book 12 summary, Odysseus katabasis underworld descent, Achilles in Hades dialogue, Odysseus meets Achilles, Sirens episode Odyssey, Scylla and Charybdis, Cattle of the Sun God, Tiresias prophecy, Elpenor burial, Odysseus piety and character development, fate versus free will in Homer, classical education podcast, Great Books discussion Homer, Ascend the Great Books Podcast, Deacon Harrison Garlick Odyssey, Dr. Frank Grabowski, Luke Heintschel Court of Christ Academy, Homer philosophy and theology, katabasis tradition Plato Dante, Christian reading of the Odyssey, Odysseus hero journey analysis.

What happens when our modern visual culture, which demands we constantly observe global atrocities on our phones, actually leads to apathy instead of a meaningful moral response? The University of Chicago's Associate Professor of English Language and Literature, Dr. Ben Saltzman, joins host PJ Wehry to discuss the overlooked significance of a common, deeply human reaction.Dr. Saltzman explores the history and meaning of this physical act in his book, Turning Away, The Poetics of an Ancient Gesture. They examine how looking away is frequently not a sign of disengagement, but rather an indication of deep emotional involvement, and how understanding this can help us navigate the horrors of the contemporary world.In this conversation they explore: How the book traces archaic scenes—like the ancient painting of Agamemnon's sacrifice of Iphigenia—by treating them as rocks tossed into a pool, following their cultural and artistic ripples across time. The surprising realization that turning away from a distressing event often signifies a deep engagement with the pain of the world, rather than simple indifference. Why our contemporary habit of scrolling through images of suffering on our phones can create a false sense of moral duty while actually fostering an empty act of looking. The concept of the divided soul, exemplified by Plato's tale of Leontius, which demonstrates how humans experience an inner conflict and oscillation between looking and turning away. How ancient rhetoric and art utilized the covered face to convey states of emotional extremity that existed entirely at the limits of representation. The relationship between covering one's eyes and the acquisition of painful knowledge, illustrated by figures ranging from a newly fallen Adam and Eve to a young girl watching a cruel scientific experiment on a bird.This is a conversation for anyone interested in literary studies, art history, and the humanities who wants to understand the historical weight behind our everyday instincts and how we process the painful realities of our modern age.Make sure to check out Dr. Saltzman's book: Turning Away: The Poetics of an Ancient Gesture

Piše Miša Gams, bereta Jure Franko in Ana Bohte. V četrti pesniški zbirki Klarise Jovanović Banket se razpotegne raznolik poetičen svet in se v devetih sklopih razgrne pred bralcem in bralko v vsem svojem razkošju. Uvodna pesem Besedje, satovje se na metaforični ravni dotakne dela pesnika, ki polaga besedo k besedi kakor čebela, ki pripravlja satje za mlado kraljico in njeno “novo služinčad, za ponoreli roj – / kako strahotno pošumeva – / ki te bo oplodil ali ugonobil, / tega ne veš. Kako bi / vedel?” Ambivalentna čustva, ki zadevajo pesniški eros, razpet med ustvarjanje in razdor, se kažejo tudi v nekaterih drugih pesmih, ki se zgoščajo okrog ozaveščanja praznine niča. Tako na koncu pesmi Moj teritorij zapiše: “… Moj teritorij, / nočna mora. Hlepeti po / zraku. Razkleniti prste. / Jekleni primež, moj teritorij. / Stran, ven iz moje kamre. / Ven, ven. // In se nameriti čez brv / nesnovnosti v materijo, / v drhtečo gmoto živega mesa, / pojemajočo in presihajočo, / pred meč ali pod meč, / pred ogenj ali skozi ogenj, / na pogorišče, na grobišče. / V pepelnato sivino / niča.” V prvem sklopu se pesnica ustavi v mestih in deželah, ki so zaznamovale njene prednike. Konča se s pesmima Zlato, razsuto in Oda nebesnemu svodu, v katerih pogleda v “brezna človeške bede” in gomile brezimnih vojakov, ki so umrli za tuje interese. V drugem sklopu se vzpostavi kontrast med nebom in breznom skozi pogled stare matere in matere, ki – kakor zapiše v pesmi Moja mati pa kar stoji – “kar stoji in gleda / njene oči pa so vse večje. / Moj Bog, toliko vsega se je / nabralo v njih. / Toliko vsega. Zdi se mi, / da bo udarilo čez rob, / da bo kriknilo. In vendar: ne.” V tretjem sklopu obravnava mitološke junake in zgodovinske osebnosti, med katerimi je tudi Agamemnon. Pesnica ga pomenljivo vpraša: “Si zares mislil, da boš z vodo / iz kopeli spral s sebe / kri in gnoj in garje? / Da bo vse tako, kot je bilo prej?” V pesmi Cerber, pes se obregne ob troglavega psa iz grške mitologije, ki naj bi pazil, da ne bi kakšna umrla duša zbežala iz podzemlja pa tudi, da ne bi kakšna živa vanj vstopila. Sprašuje se, ali gre za volka, psa, kojota, šakala ali za pritlikavo hijeno, ki “venomer zaudarja po človeškem joku”. Nahaja se med breznom in prepadom, ki sta drug od drugega oddaljena le za “tanek, svilnat dekliški las”. V zaključku pesmi se sprašuje, zakaj se troglavi pes zaganja v temo in se poskuša strgati z verige, kot bi zasliševala sloje lastnega nezavednega, lastne impulze in gone, ki jo ženejo v ustvarjanje in v izkušanje temnih plati človekove narave. V četrtem sklopu se s kritično zasnovanima pesmima Sokrat in Sapfo dotakne dveh pomembnih osebnosti antične dobe in dobronamerno preizprašuje njuno metodologijo dela. Medtem ko pri Sapfo zapiše, da ji “sintaksa jé iz roke”, se zdi, da ji gre Sokratova majevtična metoda neskončnega zasliševanja sogovornika, dokler le-ta ne spozna globine lastne nevednosti, močno na živce: “Ja, ravno to si / počel. In ko si človeka razcefral, / si ga znova, košček za koščkom, / sestavil, skrbno sestavil, in potem / spet znova, brez konca in kraja. / Medtem si se muzal in hihital / v brado, češ kdo mi pa kaj more, / čeprav bi moral vedeti, da beseda / prej in bolje zadene od bodala. / In ravno ona te je pokopala.” Klarisa Jovanović se močno zaveda dometa besed, zato ne preseneča, da se večkrat zateče k ponavljanju posameznih besednih zvez z obujanjem izrekov iz pravljic ali odsekov iz ljudskih pesmi, ki preigravajo mitološka in življenjska spoznanja. V pesmih najdemo veliko simbolike in metaforike – od senčnih globeli, črnih rečnih strug in čeri pa do prepleta plime in oseke, svetlega in temnega, razodetega in potlačenega, erosa in thanatosa. Slednja prideta najbolj do izraza v šestem poglavju, ko beremo pesniške zapise o Orfeju in Evridiki, Ivani Orleanski, neznanem kastratu, dečku, ki stoji pred Manziolijevo palačo, in deklici, ki stoji pred morjem. Morje v tem primeru pooseblja samoto, brezimnost, pa tudi strah in poželenje deklice, ki se čedalje bolj zaveda svojega bremena: “… Deklica ve: nekoč jo bo / samotno morje vzelo in / ona se mu bo pustila vzeti. / Ogenj v njenem drobu / bo vse bolj plamenel / in morje ga ne bo / pogasilo.” Če je prva polovica zbirke Banket v znamenju vode in ognja, je druga polovica v znamenju puščave in izsušene krajine. V sedmem sklopu beremo pesmi o Kairu, Gizi, Aleksandriji in Heliopolisu, v katerih pesnica v sebi odkriva težo prahu in tišine, v osmem sklopu pa svoja najgloblja čustva razodene v pesmih Zavistna krajina, Lahkokrila krajina, Potrta krajina, Priliznjena krajina, Solzava krajina in Krajina, polna prezira. Tako se v Zavistni krajini pritožuje nad odsotnostjo sence in sladkobo bolečine, ki izvira iz večnega sonca, saj v zaključku zapiše: “Bo mar tako žgalo / do konca? / Tako skelelo / do zadnje kaplje?” V devetem sklopu Banketa se Klarisa Jovanović vrne k sleherniku in slutnji vseobsegajoče boginje, ki prevpije plimo v Atlantiku in se veseli tornada, zato ne preseneča, da ima zaključna pesem naslov Visoka pesem. V njej povzema vso simboliko Svetega pisma stare zaveze kot tudi obet prihodnosti v smislu branjenja ljubezni “pred naraslimi vodami uničenja.” S tem globokim sporočilom se slavnostni Banket konča, v bralcu in bralki pa ostaja občutek mističnega in simbolnega, pomešanega z osebno izkušnjo avtorice, ki se zaveda prepleta ustvarjalnih sil s silami uničenja, a hkrati močno upa, da ljubezen na koncu vendarle prevlada ...

Hämnden är farlig och ociviliserad. Men det gäller också brotten och systemen som inte ger kvinnor upprättelse, konstaterar Maria Andersson Vogel. Lyssna på alla avsnitt i Sveriges Radios app. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. För en tid sedan besökte jag Aten för första gången. Det visade sig vara omöjligt att befinna sig där utan att förhålla sig till Akropolis, den klippa i centrala Aten där Parthenon, templet som tillägnades gudinnan Athena, Atens beskyddare, tronar allra högst. Vart man än vänder sig i staden är templet och de andra ruinerna synliga, något som förstärks om kvällen då mörkret lägger sig över bebyggelsen men inte över Akropolis som lyses upp av enorma strålkastare.Egentligen var jag där för att gå på konferens, men tanken på att åka hem från Aten utan att ha bestigit den där klippan var otänkbar. Eftersom det var mycket varmt gick jag en morgon upp extra tidigt och promenerade uppåt genom stadens gränder. Utanför ingången till tempelområdet var det redan fullt av människor trots att klockan ännu inte slagit åtta. När grindarna öppnade vallfärdade jag tillsammans med de andra uppåt längs slingrande stigar, andäktig.Och så, på den södra sidan av klippan, i en dal nedanför, bredde Dionysosteatern ut sig. Åsynen av den fick det att svindla i mig. Där hade, för mer än två tusen år sedan, människor samlats för att bevittna uppföranden av de tragedier som nu är en helt självklar del av vår kultur. Dramer, myter och karaktärer som vi alla refererar och förhåller oss till, ibland utan att vi ens är medvetna om det.Men när vi ser en modern uppsättning av dessa klassiker är det ofta en ofullständig rest. Tragedierna var från början mer eller mindre sammanhängande trilogier, och bara en har överlevt med alla delar intakta – Aischylos ”Orestien” från 458 före Kristus. Det är berättelsen om kung Agamemnon som offrar sin dotter Ifigenia för att kunna segla och kriga mot Troja, men som vid hemvändandet möts av hustrun Klytaimnestras mödravrede och hämnd. Den blodiga familjekonflikten trappas upp av att Orestes, sonen, i sin tur hämnas mordet på fadern genom att döda sin mor.I den sista delen av trilogin jagas han av Erinnyerna, hämndgudinnorna som i allmänt tal är mer kända under sitt romerska namn, Furierna. Men dramat tar en annan vändning när Athena kliver in och ställer Orestes inför en jurydomstol, i vilken han frikänns. De fruktade hämndgudinnorna förlorar sin rättskipande makt och blidkas genom att Athena utnämner dem till stadens skyddsgudinnor.Det är en episk berättelse om hämnd och rättvisa, och den brukar tolkas som en gestaltning av civilisationens triumf, av övergången från blodshämnd till ett rättskipande system. Men är det hela sanningen?Den amerikanska professorn i klassiska studier, Emily Wilson, menar att vad Orestien mer än något annat handlar om är kvinnlig vrede och förlust. Till skillnad från många andra läser hon inte dramat som en triumf för ett mer civiliserat rättssystem, utan som en berättelse om hur det manliga politiska systemet förtrycker det kvinnliga. Genom att pacificera Furierna pacificeras också den kvinnliga vreden.Finns det en särskild kvinnlig vrede, och en specifikt kvinnlig hämnd? Den frågan har jag grubblat över ett tag nu. Egentligen tror jag ju inte att kön har så mycket med saken att göra. Varför skulle kvinnors ilska över oförrätter vara annorlunda än mäns? På samma sätt är det svårt att förstå varför kvinnors hämndlystnad skulle vara väsensskild.Men skälen till att vreden börjar koka, de händelser som väcker hämndlystenheten, de tycks mig ibland vara specifika. Och ofta, såväl i litteraturen som i verkligheten, vara förknippad med patriarkalt våld – mot kvinnorna och deras barn. För rättskipande system som bygger på argumentation istället för våld i all ära, men när systemet inte ger de utsatta upprättelse, vad gör man då?Den amerikanska journalisten Elizabeth Flock tar sig an den frågan i sin bok betitlad just ”The furies” – Furierna. Hon följer tre kvinnor som alla tagit saken i egna händer. En av dem är Brittany i USA, som under en natt utsätts för grov våldtäkt och till sist dödar sin förövare i vad hon menar är självförsvar. Här finns också Angoori i Indien, en kastlös kvinna som får hus och mark konfiskerade och startar ett kvinnoseparatistiskt gäng med syfte att hjälpa andra utsatta. Och vi har Cicek i den kurdiska delen av Syrien, som tar till vapen och ansluter sig till YPG och kampen för ett fritt Kurdistan.Gemensamt för berättelserna är hur samhällssystemen brustit både när det kommer till skydd mot våld och möjligheten till upprättelse. De tre kvinnornas våldsamma motstånd är rakt igenom intimt sammantvinnat med mäns våld och patriarkalt förtryck. Det är stundtals omöjligt att skilja trådarna som spinner fram ett offer från de som spinner fram en förövare.Där Brittany ställs inför rätta för mordet på sin förövare, liksom i ett flertal av amerikanska stater, finns en lagstiftning som tillåter våldsamt, också dödligt, motstånd om du blir attackerad. För kvinnor i Brittanys situation hjälper den dock föga. Lagen stammar från 1800-talet med ett ursprungligt syfte att tillåta män skydda sin egendom, i vilken kvinnor och barn vid den tiden ingick. Inte heller dagens lagstiftning är utformad för att omfatta den verklighet som Brittany delar med alltför många kvinnor. Amerikanska forskare pekar på hur lagen är skapad utifrån ett manligt perspektiv med fokus på hot utifrån medan den ignorerar våld i hemmet, vilket kvinnor oftare utsätts för. Med ens är det som att vi är tillbaka vid Dionysosteatern, där det manliga politiska systemet vann och den kvinnliga vreden tystades.Det är talande att Athena, som i Aischylos drama har utslagsrösten, inte hänvisar till neutralitet eller det allmänna bästa när hon friar Orestes, utan till att hon är född ur Zeus huvud, och inte av en mor, sätter mannens rätt framför kvinnans.Men gör vi rätt att som Elizabeth Flock använda epitetet furier för dagens kvinnor som, när samhällets system brister, möter förtryck med våld? Utifrån en traditionell tolkning av Aischylos drama innebär epitetet att deras vrede och försök till upprättelse blir något förhistoriskt och förlegat, ett agerande som med förnuftig blick kan avfärdas som barbariskt. Kanske är frågan felställd. För inte är det i första hand kvinnornas strategier för upprättelse som bör tolkas som barbariska, utan det systematiska våld de utsätts för, av såväl enskilda individer som samhällssystem?Parallellt med att jag läser Orestien arbetar jag med ett intervjumaterial med unga kvinnor i och omkring den så kallade gängmiljön. Utsattheten är så omfattande att det stundtals är svårt att andas, samtidigt som gränsdragningarna mellan offer och förövare ibland är helt utsuddade. De unga kvinnornas berättelser är fulla av sexuellt våld, men få berättar om hjälp till upprättelse. Några har istället tagit saken i egna händer. Givetvis är det ingenting att uppmuntra, men där jag sitter med flödet av berättelser om våldsutsatthet är det omöjligt att fördöma.Så länge de rättskipande systemen inte klarar av att ge kvinnor som utsätts för barbariskt våld, just för att de är kvinnor, skydd och upprättelse hoppas jag att furierna stannar. Inte för att legitimera våldsam hämnd, men som en garant för att kvinnors rättmätiga vrede får ta plats. Det är inte de utsatta som bör pacificeras, det är våldsutövarna.Maria Andersson Vogelskribent och doktor i socialt arbete LitteraturAischylos: Orestien – Agamemnon, Gravoffret och Eumeniderna. Översättning av Emil Zilliacus. Geber, 1929– 1930.Flock, Elizabeth (2024). The furies. Three women and their violent fight for justice. Penguin Books.Light Caroline, Thomas Janae, Yakubovich Alexa (2023). Gender and Stand Your Ground Laws: A Critical Appraisal of Existing Research. J Law Med Ethics, 51 (1): 53-63.Naffine, Ngaire (2020). Criminal Law and the Man Problem. Bloomsbury Publishing.Wilson, Emily (2020). Ah how miserable! London Review of Books, 42 (19).

The first of a grim pair of episodes depicting filicide within Greek myths. We piece together the story of Agamemnon’s sacrificing Iphigenia for favorable winds – and the fallout of such action after the war. All this with an eye for how the choices parents make either support or harm the parents’ individuation. This episode we will be reading from Mythology, by Edith Hamilton. The following are also referenced in this episode: Mercury Rising: Women, Evil and the Trickster Gods – by Deldon Anne McNeely The Red Book: Liber Novus – by C.G. Jung Our intro/outro music a sample of Seikilos Epitaph with the Lyre of Apollo, by Lina Palera, under an Attribution-NonCommercial-ShareAlike 3.0 International License. You can find the full version at ⁠⁠⁠⁠⁠FreeMusicArchive.org⁠⁠⁠⁠⁠. Banner Image: Agamemnon Condemns Iphigenia by Pierto Aldi Email: jungianeverafter@gmail.com Twitter: @JEA_Podcast Discord: https://discord.gg/GEdn4TPgHR Ko-fi: https://ko-fi.com/jungianeverafter

Unter der Führung von Agamemnon versammeln die Griechen ihre Schiffe vor Aulis, um gemeinsam gegen Troja zu ziehen. Viele schließen sich Agamemnon und Menelaos an. Doch nicht alle haben Lust auf Krieg. So wenden Odysseus, Achilles und Kinyras unterschiedliche Taktiken an, um der Mobilisierung zu entkommen. Mit mehr oder weniger Erfolg… Personen: Odysseus, Achilles, Agamemnon, Menelaos, Nestor, Helena, Paris/Alexander, Tyndareus, Palamedes, Penelope, Telemachos, Laertes, Patroklos, Menoitios, Peleus, Thetis, Diomedes, Lykomedes, Kalchas, Cheiron, Kinyras, Ödipus, Hera, Herakles, Zeus, Poseidon, Antilochos, Thrasymedes, Pyrrha Orte: Mykene, Sparta, Ithaka, Pylos, Aulis, Troja, Skyros, Zypern, Phthia, Pelion Sonstiges: Lapithen, Kentauren, Myrmidonen, Ilias, Homer, Achilleid, Statius, Styx, Tyndareus-Schwur LINKS https://linktr.ee/daschaosundseinekinder STAMMBÄUME u. SCHAUBILDER https://steady.page/de/chaoskinder/posts/9476fd9d-75cd-475b-88b1-d320569b23f0?utm_source=chatgpt.com LITERATUR https://steadyhq.com/de/chaoskinder/posts/b59d1093-cdff-4158-8dca-bc0ac992d47c MUSIK https://www.youtube.com/watch?v=zfnRMIFHHrE FR „Le Chaos et ses enfants“ https://podcasters.spotify.com/pod/show/lechaosetsesenfants?utm_source=chatgpt.com MASTODON @daschaosundseinekinder https://mastodon.social/@daschaosundseinekinder INSTAGRAM @chaos.kinder https://www.instagram.com/chaos.kinder/?utm_source=chatgpt.com MAIL chaoskinderkontakt@gmail.com STEADY https://steadyhq.com/de/chaoskinder/about PAYPAL https://www.paypal.com/donate/?hosted_button_id=VB2QKC88H9NYJ CHAOS-SHOP https://chaoskind.myshopify.com/

This week, we're joined by Nick During and Abigail Dunn from New York Review Books for a wide-ranging conversation about the world of NYRB. From Classics to Kids, Comics to Poets, we explore what gives these books their distinct spirit and why so many readers find themselves returning to those familiar spines again and again.Along the way, we talk about recent releases, a few titles currently on our nightstands, and some of the surprises that come with bringing books back into print. It's a conversation about discovery, rediscovery, and the quiet pleasure of finding the right book at the right time. Plus, they shed some light on some surprises on the horizon!2026 Novella Book ClubWe have announced the four novellas we will be reading for The Mookse and Gripes Novella Book Club in 2026!* January: Daisy Miller, by Henry James* April: An Episode in the Life of a Landscape Painter, by César Aira* July: The Hour of the Star, by Clarice Lispector* September: Prelude, by Katherine MansfieldDiscussions will be hosted at The Mookse and the Gripes Discord (see below!).We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib Mahfouz* Episode 165: Annie Ernaux* Episode 175: Henry JamesThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Join the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just about to read the second novella book club book of 2026: An Episode in the Life of a Landscape Painter, by César Aira, translated by Chris Andrews. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.Shownotes* East of Dreams, by Nastassja Martin* In the Eye of the Wild, by Nastassja Martin* The Death of a Greek Lover, by David Plante* Difficult Women: A Memoir of Three, by David Plante* Too L.A.: Letters Never Sent (But Some Were), by Eve Babitz* Jesus Christs, by A.J. Langguth* Effingers, by Gabriele Tergit, translated by Sophie Duvernoy* Käsebier Takes Berlin, by Gabriele Tergit, translated by Sophie Duvernoy* Things in Nature Merely Grow, by Yiyun Li* Crazy Genie, by Inès Cagnati, translated by Liesl Schillinger* Light While There Is Light: An American History, by Keith Waldrop* “The Old Forest,” by Peter Taylor* The Netanyahus, by Joshua Cohen* Onward and Upward in the Garden, by Katharine S. White* Divorcing, by Susan Taubes* Lament for Julia, by Susan Taubes* Free Day, by Inès Cagnati, translated by Liesl Schillinger* Family Lexicon, by Natalia Ginzburg, translated by Jenny McPhee* Valentino & Sagittarius, by Natalia Ginzburg, translated by Avril Bardoni* Lies and Sorcery, by Elsa Morante, translated by Jenny McPhee* Pittsburgh, by Frank Santoro* Proper Doctoring: A Book for Patients and Their Doctors, by David Mendel* Shakespeare's Montaigne: The Florio Translation* Proensa: An Anthology of Troubadour Poetry, selected and translated by Paul Blackburn* The Interior Landscape: Classical Tamil Love Poems, translated by A.K. Ramanujan* After Lorca, by Jack Spicer* A Woman of Thirty, by Honoré de Balzac, translated by Jeanine Herman* Turtle Diary, by Russell Hoban* The Marzipan Pig, by Russell Hoban* Château Rouge, by Amit Chaudhuri* First Love, by Gwendolyn Riley* My Phantoms, by Gwendolyn Riley* The Palm House, by Gwendolyn Riley* Memories of the Future, by Sigizmund Krzhizhanovsky, translated by Joanne Turnbull* Smoke, by Ivan Turgenev, translated by Donald Rayfield* Diary Without Vowels, by Aleksander Wat, translated by Alissa Valles* The Lord, by Soraya Antonius* Where the Djinn Consult, by Soraya Antonius* Levitations, by Easton Smith* Bristol, by Jean Echenoz, translated by Mark Polizzotti* Command Performance, by Jean Echenoz, translated by Mark Polizzotti* Bina: A Novel in Warnings, by Anakana Schofield* Library of Brothel, by Anakana Schofield* I Liked Rex, by Diane Williams* The Kingdom of Agamemnon, by Vladimir Sharov, translated by Oliver Ready* Borges, by Adolfo Bioy Casares, translated by Valerie Miles* Morel's Invention, by Adolfo Bioy Casares, translated by Margaret Jull Costa* Zama, by Antonio Di Benedetto, translated by Esther Allen* The Silentiary, by Antonio Di Benedetto, translated by Esther Allen* The Suicides, by Antonio Di Benedetto, translated by Esther Allen* Bomarzo, by Manuel Mujica Lainez, translated by Gregory Rabassa* Life and Fate, by Vasily Grossman, translated by Robert Chandler* Blood Dark, by Louis Guilloux, translated by Laura Marris* An African in Greenland, by Tete-Michel Kpomassie, translated by James Kirkup* A High Wind in Jamaica, by Richard Hughes* Max Havelaar: Or, the Coffee Auctions of The Dutch Trading Company, by Multatuli, translated by Ina Rilke and David McKay* The Enchanted April, by Elizabeth von Arnim* Woman Running in the Mountains, by Yūko Tsushima, translated by Geraldine Harcourt* The Culling Time, by Yūko Tsushima, translated by Dennis Washburn* Loved and Missed, by Susie Boyt* The Sweet Dove Died, by Barbara Pym* Memoirs from Beyond the Grave, by François-Réne de Chateaubriand, translated by Alex Andriesse* The Story of a Life, by Konstantin Paustovsky, translated by Douglas SmithThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Tatiana Papamoschou (Iphigénie) dans Iphigénie Je n’ai jamais très bien compris l’espèce de réhabilitation détournée d’Agamemnon à laquelle se livrent Eschyle dans l’Orestie mais aussi Sophocle, Euripide et leurs successeurs, tous ceux ayant osé affronter et mettre en scène l’histoire des Atrides, cette famille terrible vouée aux gémonies. J’ai toujours trouvé incompréhensible la haine qu’Electre et Oreste vouent à leur mère Clytemnestre qui, certes, a assassiné Agamemnon, leur père et son mari, mais l’a fait en souvenir du crime que lui-même a commis sur Iphigénie, sa fille et leur sœur. Car, que Clytemnestre ait voulu venger le meurtre de sa fille, qui ne le comprendrait ? Qui ne le comprendrait en mettant en regard l’horreur du geste et le ridicule de son objectif : permettre à la flotte grecque de quitter les rivages d’Aulis et de voguer vers Troie ; voguer vers Troie pour laver l’honneur bafoué de Ménélas, le frère d’Agamemnon, ce Ménélas dont Pâris, Prince de Troie, a ravi (dans tous les sens du terme) l’épouse, cette Hélène à la belle chevelure, également sœur de Clytemnestre. On oublie toujours, d’ailleurs, qu’Hélène non seulement sortit vivante des ruines fumantes de Troie mais rendit à nouveau amoureux d’elle son bêta de mari au point qu’ils finiront tous deux leur vie dans leur palais de Sparte, bourgeoisement établis comme si de rien n’était, comme si leur histoire de fesses n’avait pas plongé le monde dans un délire sanglant. Hélène et Ménélas se rabibochent, et pendant ce temps, Oreste et Electre tuent leur mère et son nouveau mari, Egisthe. L’Orestie raconte la façon dont Athéna travaille, après la longue pénitence d’Oreste, à rompre l’enchaînement maudit qui, depuis Atrée, condamne cette famille à l’horreur répétée. C’est le poids écrasant de ce destin que les auteurs classiques (et Jean-Francois Sivadier dans le superbe Portrait de famille) mettent sous leurs projecteurs noirs et rouges. Mais c’est autre chose que Michel Cacoyannis, dans sa sublime Iphigénie, pointe. Ce que montre Cacoyannis, ce n’est pas le poids du destin familial, c’est le poids du politique, la force du gros animal, comme disait Simone Weil, cette force irrépressible qui broie comme fêtu tout ce qui pourrait lui résister. Car même si Agamemnon n’était pas lâche, même si, reprenant ses esprits, il décidait de s’opposer à Calchas et de sauver sa fille ; même si Achille, allant jusqu’au bout de sa colère, décidait de soustraire, malgré elle, Iphigénie au sacrifice, on sent que l’armée, que ces hommes décidés à en découdre et qui, comme le leur susurre Ulysse, sont prêts à donner leur vie ; on sent que ces hommes iraient d’eux-mêmes arracher sa fille à Clytemnestre pour la traîner sur l’autel du bourreau. On sent, sous la caméra sensible de Cacoyannis, que ni le courage, ni la douceur, ni la beauté qu’incarne, chacune en son genre, Iphigénie et Clytemnestre, ne peuvent l’emporter face à la lâcheté collective, à la lâcheté collective et viriliste de ces hommes qui veulent se venger des femmes. L’Orestie, nous la jouerons, à la fin de ce mois de mai 2026. Qu’on se le dise ! Cet article Iphigénie (de Michel Cacoyannis) est apparu en premier sur Aldor (le blog).

Dr. Kate Cook, a Lecturer in Greek Culture at King's College London, joins Lexie to discuss falling in love with tragedy after reading Aeschylus' Agamemnon and Kassandra's scene, connecting hostility toward prominent or “masculinized” women in modern games to ancient tragic narratives about women, and critiquing the “historical accuracy” discourse in gaming which includes mods that remove women. So tuck in your togas and hop aboard Trireme Transit for this week's exciting odyssey! Don't forget to follow us on Bluesky, Facebook & Instagram or visit our website www.theozymandiasproject.com! Originally recorded June 12, 2025. Learn more about Dr. Cook: https://www.kcl.ac.uk/people/kate-cook Follow her on Bluesky: https://bsky.app/profile/katexe.bsky.social Custom music by Brent Arehart of Arehart Sounds and edited by Dan Maday. Want a transcript of the episode? Email us at theozymandiasprojectpodcast@gmail.com and we can provide one. Hosted on Acast. See acast.com/privacy for more information.

G POUR GEEK - ÉPISODE 279 Présenté par la microbrasserie Nano Cinco Cette semaine, on vous arrive avec un épisode solide, rempli de découvertes, de discussions passionnées et d'un retour que plusieurs attendaient… LE GRAND RETOUR DE BEERMAN! Oui oui, la légende est de retour avec une toute nouvelle chronique qui risque de goûter bon la bière et le geekAu menu de cet épisode 279 :Agamemnon in the Ring - Phil USB ouvre le bal avec ce titre intrigantRoyal Vermin - Phil USB enchaîne avec une autre découverte à surveiller Paradise - Dr.Doom nous plonge dans cet univers mystérieuxLook Back - Robin et Trash Talker discutent de cette œuvre marquanteNouvelle chronique de Beerman - le retour tant attendu!Over The Top WW1 - Frank the Simgeek nous transporte en pleine guerreLa Chronique du Dieu Geek - pour finir ça en forceQue vous soyez là pour les jeux, les films ou juste pour la vibe entre passionnés, cet épisode a tout ce qu'il faut pour vous divertir!Disponible dès maintenant - montez le volume et embarquez avec nous!#GPourGeek #PodcastGeek #BeermanIsBack #GeekQC #NanoCinco‐-------‐‐-----------------------------------------Site Web ⬇️www.gpourgeek.caBalado Quebec ⬇️https://baladoquebec.ca/g-pour-geek/g-pour-geek-episode-279-paradise-over-the-top-ww1-look-back-royal-vermSpotify ⬇️https://open.spotify.com/show/1u1BuLjlLfSSOLq8YuAEa0Linktree ⬇️https://linktr.ee/gpourgeekYoutube ⬇️https://youtu.be/VkQt6GIOFro

Zeus will Gaia von der Last der Menschen befreien. Um die Menschheit zu dezimieren, plant er einen großen Krieg. Paris wird zum trojanischen Prinzen. Oinone sitzt weinend am Fluss. Der Wald wird abgeholzt. Das Übel nimmt seinen Lauf und Kassandra kann es nicht verhindern. Personen: Zeus, Gaia, Momos, Helena, Paris (Alexander / Alexandros), Menelaos, Hermione, Tyndareus, Oinone, Priamos, Hekabe, Agelaos, Hektor, Deiphobos, Kassandra, Apollon, Aphrodite, Hera, Athene, Thetis, Peleus, Aeneas, Anchises, Eros, Iris, Agamemnon, Krateus, Kolluthos, Hermes, Chariten, Horen. Orte: Troja (Ilion), Sparta, Mykene, Berg Ida, Kreta, Sidon, Eurotas, Hellespont Sonstiges: Trojanischer Krieg, Epischer Zyklus, Kypria, Leichenspiele, Urteil des Paris, Schwur der Freier, Raub der Helena, trojanische Flotte, Orakel, Prophezeiung, Apollons Fluch, Zankapfel, Steady-Extra: Hymnus an Aphrodite LINKS https://linktr.ee/daschaosundseinekinder STAMMBÄUME u. SCHAUBILDER https://steady.page/de/chaoskinder/posts/9476fd9d-75cd-475b-88b1-d320569b23f0?utm_source=chatgpt.com LITERATUR https://steadyhq.com/de/chaoskinder/posts/b59d1093-cdff-4158-8dca-bc0ac992d47c MUSIK https://www.youtube.com/watch?v=zfnRMIFHHrE FR „Le Chaos et ses enfants“ https://podcasters.spotify.com/pod/show/lechaosetsesenfants?utm_source=chatgpt.com MASTODON @daschaosundseinekinder https://mastodon.social/@daschaosundseinekinder INSTAGRAM @chaos.kinder https://www.instagram.com/chaos.kinder/?utm_source=chatgpt.com MAIL chaoskinderkontakt@gmail.com STEADY https://steadyhq.com/de/chaoskinder/about PAYPAL https://www.paypal.com/donate/?hosted_button_id=VB2QKC88H9NYJ CHAOS-SHOP https://chaoskind.myshopify.com/

On episode 252, welcome Benjamin Saltzman to discuss the gesture of turning away, the shame and grief behind it, how it became a moral topic, turning away in art and Timanthes's lost painting of Agamemnon, Plato's tripartite concept of the soul and turning away as a mark of confusion, rigidity and steadfastness as signs of courage and character, cognitive flexibility and knowing when to turn away, Hannah Arendt and misinterpreting averted gazes as the foundation of totalitarianism, and understanding aversion without its moral trappings. Benjamin A. Saltzman is associate professor of English at the University of Chicago, where he coedits the journal Modern Philology. Saltzman is the author of Bonds of Secrecy: Law, Spirituality, and the Literature of Concealment in Early Medieval England and the coeditor of Thinking of the Medieval: Midcentury Intellectuals and the Middle Ages. His new book, available April 6, 2026, is called Turning Away: The Poetics of an Ancient Gesture. | Benjamin A. Saltzman | ► Website | https://www.bsaltzman.com ► Twitter | https://x.com/b_a_saltzman ► Instagram | https://www.instagram.com/b_a_saltzman ► Turning Away Book | https://bit.ly/TurningAwayBook Use the code "UCPNEW" for a 30% discount on Turning Away when ordering from the link above!  Where you can find us: | Seize The Moment Podcast | ► Facebook | https://www.facebook.com/SeizeTheMoment ► Twitter | https://twitter.com/seize_podcast ► Instagram | https://www.instagram.com/seizethemoment ► TikTok | https://www.tiktok.com/@seizethemomentpodcast  

Homer's The Iliad, Part 1 (Books 1-16)—the epic tale of Achilles' rage, Hector's honor, and the Trojan War. Translated by Samuel Butler, narrated by Mark Cassidy with full subtitles.

A Little Greek, A Little Sci-Fi 2025 kicked off my goal of reading the great books of Western Civilization. So in typical fashion I read a little Greek, a little sci-fi, and a smattering of everything else. Indiepub still factored into the list with some hits and misses, just like the tradpubs. As always, the goal we should all have isn’t quantity it’s quality. But quality doesn’t just mean classic great books, it means books you enjoy and changes you and allows you to experience escapism and learn more about God’s world as He is the ultimate storyteller. TIMELINE: 00:00:00 – Introduction 00:04:14 – The Lion, the Witch and the Wardrobe by C.S. Lewis 00:07:06 – The God Frequency by Douglas Hemme 00:10:40 – Amorphous – Breaking the Mold by Steven Burgess 00:12:06 – Spectrum Multiview Christian Ethics Four Views edited by Steve Wilkens 00:18:18 – The Peace War by Vernor Vinge 00:22:37 – Greek for the Rest of Us by William D. Mounce 00:26:05 – The Iliad by Homer 00:32:09 – Peter Pan by J.M. Barrie 00:34:31 – Flight of the Eagles by Gilbert L. Morris 00:37:21 – Sundered by Ernie Laurence Jr. 00:38:55 – Horus Rising by Dan Abnett 00:41:37 – The Odyssey by Homer 00:43:17 – D’Aulaires’ Book of Greek Myths by Ingri d’Aulaire 00:44:46 – The Secret Door by Jenny Phillips 00:46:59 – Project Hail Mary by Andy Weir 00:49:34 – Passing the Torch An Apology for Classical Christian Education by Louis Markos 00:53:21 – The Core by Leigh A. Bortins 00:56:06 – Agamemnon by Aeschylus 00:59:10 – The Libation Bearers by Aeschylus 01:00:39 – The Eumenides by Aeschylus 01:02:29 – The Air We Breathe How We All Came to Believe in Freedom, Kindness, Progress, and Equality by Glen Scrivener 01:05:11 – Adam of the Road by Elizabeth Janet Gray 01:07:00 – Maisie Dobbs by Jacqueline Winspear 01:09:45 – The Little Prince by Antoine de Saint-Exupéry 01:12:15 – Mr. Popper’s Penguins by Richard Atwater 01:13:37 – Oedipus Rex by Sophocles 01:16:36 – Oedipus at Colonus by Sophocles 01:18:39 – Antigone by Sophocles 01:21:12 – To Be Continued Next Week Books mentioned in this episode: The Lion, the Witch and the Wardrobe by C.S. Lewis Kindle Paperback Audible The God Frequency by Douglas Hemme Kindle Paperback Audible Amorphous – Breaking the Mold by Steven Burgess Kindle Paperback Spectrum Multiview Christian Ethics Four Views edited by Steve Wilkens Kindle  Paperback  CaveToTheCross Episodes – wwww.CaveToTheCross.com/ChristianEthics The Peace War by Vernor Vinge Kindle Paperback Greek for the Rest of Us by William D. Mounce Kindle Paperback The Iliad by Homer Kindle Paperback Audible Peter Pan by J.M. Barrie Kindle Paperback Audible Flight of the Eagles by Gilbert L. Morris Kindle Paperback Audible Sundered by Ernie Laurence Jr. Kindle Horus Rising by Dan Abnett Kindle Paperback  Audible The Odyssey by Homer Kindle Paperback  D’Aulaires’ Book of Greek Myths by Ingri d’Aulaire Kindle Paperback Audible The Secret Door by Jenny Phillips Paperback Project Hail Mary by Andy Weir Kindle Paperback Audible Passing the Torch An Apology for Classical Christian Education by Louis Markos Kindle Paperback Audible The Core by Leigh A. Bortins Kindle Paperback  Audible Agamemnon by Aeschylus Kindle Paperback The Libation Bearers by Aeschylus Kindle Paperback The Eumenides by Aeschylus Kindle Paperback The Air We Breathe How We All Came to Believe in Freedom, Kindness, Progress, and Equality by Glen Scrivener Kindle Paperback  Audible  Adam of the Road by Elizabeth Janet Gray Paperback Audible Maisie Dobbs by Jacqueline Winspear Kindle Paperback Audible The Little Prince by Antoine de Saint-Exupéry Kindle Paperback Mr. Popper’s Penguins by Richard Atwater Kindle  Paperback Audible Oedipus Rex by Sophocles Kindle Paperback Oedipus at Colonus by Sophocles Kindle Paperback Antigone by Sophocles Kindle Paperback All episodes, short clips, & blog – https://www.cavetothecross.com

TRANSLATION AND THE SEARCH FOR TROY Colleague Professor Emily Wilson. John Batchelor interviews Professor Emily Wilson about her new iambic pentameter translation of the Iliad. They discuss the historical location of Troy in modern Turkey and the archaeological layers discovered by Schliemann, who wrongly believed he found Agamemnon's mask. Wilson explains that while the Greeks viewed the Iliad as partly historical, it is a poetic imagining composed centuries after the events, designed for oral performance and rhythmic reading. NUMBER 1 500 AD ALEXANDRIA AMBROSIAN ILIAD

AGAMEMNON'S FAILURE AND DIVINE POLITICS Colleague Professor Emily Wilson. This segment details the plot's catalyst: Agamemnon seizing Briseis from Achilles, causing the hero to withdraw from battle. Wilson explains the divine politics, including Hera trading three Greek cities to Zeus to ensure Troy's destruction. They analyze Agamemnon's flawed leadership; while he blames Zeus for his bad decisions, the poem portrays the immense difficulty of holding a disparate army together, leading to disastrous choices that necessitate Achilles' eventual return. NUMBER 5 500 AD AMBROSIAN ILIAD

GRIEF, GAMES, AND ACCEPTANCE Colleague Professor Emily Wilson. After Hector's death, Achilles finds a form of healing through funeral games, which offer a non-lethal model of competition. He even awards Agamemnon a prize without a contest, possibly as a slight. The poem concludes not with victory, but with a "humanitarian pause" for Hector's funeral. Wilson notes the ending focuses on women's lamentations, emphasizing the Iliad's enduring lesson on the struggle to accept human mortality. NUMBER 8 500 AD AMBROSIAN ILIAD. WALL BREACHED.

FEMALE AUTHORSHIP AND THE TROJAN WOMEN Colleague Daisy Dunn. Daisy Dunn discusses the legend of Phantasia, a rumored female source for Homer, and the myth of Leda and the Swan. She argues that the Trojan Warlikely reflects real historical conflicts at the site of Hisarlik. The segment highlights key female figures: Andromache, who offers military advice to Hector, and Briseis, the enslaved woman central to the dispute between Agamemnon and Achilles, illustrating the centrality of women to the epic. NUMBER 9 1450 VIRGIL READING AENEID TO AUGUSTUS, OCTAVIA AND LIVIA.

SHOW 12-30-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR THESDHOW BEGINS WITH DOUBTS ABOUT THE PURPOSE OF WAR-MAKING AS EXPRESSED MOURNFULLY BY HECTOR'S WIFE ANDROMACHE... SHOW 12-30-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR TRANSLATION AND THE SEARCH FOR TROY Colleague Professor Emily Wilson. John Batchelor interviews Professor Emily Wilson about her new iambic pentameter translation of the Iliad. They discuss the historical location of Troy in modern Turkey and the archaeological layers discovered by Schliemann, who wrongly believed he found Agamemnon's mask. Wilson explains that while the Greeks viewed the Iliad as partly historical, it is a poetic imagining composed centuries after the events, designed for oral performance and rhythmic reading. NUMBER 1 HOMER'S NARRATIVE CHOICES AND ORAL TRADITION Colleague Professor Emily Wilson. Wilsondiscusses the "Homeric Question," noting that oral stories existed for centuries before the alphabet arrived in the 8th century BCE. She highlights the Iliad's sophisticated narrative structure, which omits famous events like the Apple of Discord and the Trojan Horse to focus intensely on a specific period of the war. The conversation compares the Iliad'sfocus on Greek infighting with Virgil's Aeneid, noting the distinct goals of each epic tradition. NUMBER 2 TRAGIC COUPLES AND DIVINE INTERVENTION Colleague Professor Emily Wilson. The segment explores key character pairings, starting with Helen's complex view of Paris and her weaving as a metaphor for the story. Wilsonanalyzes the tragic relationship between Hector and Andromache, emphasizing Hector's choice of duty over family. They discuss the gods' roles, particularly Thetis's prayer to Zeus which seals Achilles' fate, and Hera's bargaining with Zeus to ensure Troy's destruction, highlighting the interplay of divine will and mortal suffering. NUMBER 3 TRANSLATION AND THE SEARCH FOR TROY Colleague Professor Emily Wilson. John Batchelor interviews Professor Emily Wilson about her new iambic pentameter translation of the Iliad. They discuss the historical location of Troy in modern Turkey and the archaeological layers discovered by Schliemann, who wrongly believed he found Agamemnon's mask. Wilson explains that while the Greeks viewed the Iliad as partly historical, it is a poetic imagining composed centuries after the events, designed for oral performance and rhythmic reading. NUMBER 1 HOMER'S NARRATIVE CHOICES AND ORAL TRADITION Colleague Professor Emily Wilson. Wilsondiscusses the "Homeric Question," noting that oral stories existed for centuries before the alphabet arrived in the 8th century BCE. She highlights the Iliad's sophisticated narrative structure, which omits famous events like the Apple of Discord and the Trojan Horse to focus intensely on a specific period of the war. The conversation compares the Iliad'sfocus on Greek infighting with Virgil's Aeneid, noting the distinct goals of each epic tradition. NUMBER 2 TRAGIC COUPLES AND DIVINE INTERVENTION Colleague Professor Emily Wilson. The segment explores key character pairings, starting with Helen's complex view of Paris and her weaving as a metaphor for the story. Wilsonanalyzes the tragic relationship between Hector and Andromache, emphasizing Hector's choice of duty over family. They discuss the gods' roles, particularly Thetis's prayer to Zeus which seals Achilles' fate, and Hera's bargaining with Zeus to ensure Troy's destruction, highlighting the interplay of divine will and mortal suffering. NUMBER 3 APHRODITE, PATROCLUS, AND TROPHY WOMEN Colleague Professor Emily Wilson. Wilson examines Aphrodite's intervention on the battlefield and her representation of baser instincts like lust. The discussion shifts to Briseis, a "trophy" of war, and her relationship with Patroclus, whom Wilson refuses to classify as a "beta male" despite his kindness. Patroclus is described as a brutal killer and Achilles' closest companion. The segment highlights the emotional depth of Achilles, who displays immense vulnerability alongside his capacity for violence. NUMBER 4 AGAMEMNON'S FAILURE AND DIVINE POLITICS Colleague Professor Emily Wilson. This segment details the plot's catalyst: Agamemnon seizing Briseis from Achilles, causing the hero to withdraw from battle. Wilson explains the divine politics, including Hera trading three Greek cities to Zeus to ensure Troy's destruction. They analyze Agamemnon's flawed leadership; while he blames Zeus for his bad decisions, the poem portrays the immense difficulty of holding a disparate army together, leading to disastrous choices that necessitate Achilles' eventual return. NUMBER 5 THE GORE AND GLORY OF BATTLE Colleague Professor Emily Wilson. Wilson discusses translating the Iliad'svivid violence, drawing on insights from combat veterans regarding the trauma of battlefield death. A central theme is the treatment of corpses; possessing and stripping a dead enemy's armor is the ultimate sign of dominance. The conversation touches on the physical nature of the gods, who bleed "ichor" when wounded, and Poseidon's support for the Greeks in contrast to his brother Zeus. NUMBER 6 THE DEATH OF PATROCLUS AND HECTOR Colleague Professor Emily Wilson. The tragedy culminates with Patroclus ignoring Achilles' warning, leading to his death by Hector and the loss of Achilles' armor. Wilson describes Achilles' terrifying return to battle, equipped with new armor from Hephaestus, and his slaughter of Trojans. The segment covers the final confrontation where Achilles kills Hector and, driven by vengeance, drags his body behind a chariot, denying him burial rights and intending to mutilate him forever. NUMBER 7 GRIEF, GAMES, AND ACCEPTANCE Colleague Professor Emily Wilson. After Hector's death, Achilles finds a form of healing through funeral games, which offer a non-lethal model of competition. He even awards Agamemnon a prize without a contest, possibly as a slight. The poem concludes not with victory, but with a "humanitarian pause" for Hector's funeral. Wilson notes the ending focuses on women's lamentations, emphasizing the Iliad's enduring lesson on the struggle to accept human mortality. NUMBER 8 FEMALE AUTHORSHIP AND THE TROJAN WOMEN Colleague Daisy Dunn. Daisy Dunn discusses the legend of Phantasia, a rumored female source for Homer, and the myth of Leda and the Swan. She argues that the Trojan Warlikely reflects real historical conflicts at the site of Hisarlik. The segment highlights key female figures: Andromache, who offers military advice to Hector, and Briseis, the enslaved woman central to the dispute between Agamemnon and Achilles, illustrating the centrality of women to the epic. NUMBER 9 SAPPHO OF LESBOS Colleague Daisy Dunn. Dunn explores the life of Sappho, debunking myths about her appearance and suicide. She explains that Sappho was exiled due to her family's aristocratic background during a time of political revolution. The conversation covers Sappho's disapproval of her brother's relationship with the courtesan Doricha and her professional jealousy when students left her school for rivals. Weaving is presented as a metaphor for women shaping fate. NUMBER 10 ETRUSCANS AND THE WOMEN OF EARLY ROME Colleague Daisy Dunn. Dunn discusses the Etruscans, noting their advanced dentistry and the shock Greeks felt at Etruscan men and women dining together openly. Transitioning to Rome, they recount the violent founding myth of the Rape of the Sabine Women. The segment details the tragedy of Lucretia, whose rape and subsequent suicide led Brutus to overthrow the monarchy and establish the Roman Republic, making her a paragon of virtue. NUMBER 11 DIDO AND THE FOUNDING OF CARTHAGE Colleague Daisy Dunn. Dunn recounts the story of Dido, the clever founder of Carthage who tricked a local king to secure land. When Aeneas abandons her to fulfill his destiny, Didocurses him, foreshadowing the Punic Wars between Rome and Carthage. The segment explores her tragic suicide on a pyre, noting the societal judgment against her for breaking vows of celibacy, while acknowledging her capacity as a talented ruler and builder of cities. NUMBER 12 CORNELIA AND SERVILIA: MOTHERS OF ROME Colleague Daisy Dunn. This segment focuses on Cornelia, the educated "one-man woman" who raised the reforming Gracchi brothers to challenge the Roman elite. Dunn notes Cornelia's heartbreak as she tried to dissuade her second son from following his assassinated brother's path. The discussion shifts to Servilia, Caesar's long-term mistress and mother of Brutus. Servilia is depicted as a politically astute woman caught between her lover and her son, the future assassin. NUMBER 13 CLEOPATRA AND CAESAR Colleague Daisy Dunn. Dunn describes Cleopatra's dramatic entrance from a rug to meet Caesar and secure her rule in Egypt. Despite her intelligence and linguistic skills, the Romans viewed her with suspicion and distaste, labeling her a "whore queen." Dunn challenges the Hollywood image of Cleopatra's beauty, noting coin portraits show a hooked nose, and argues her power lay in her charisma and voice. She remains a figure of admiration today. NUMBER 14 ANTONY, FULVIA, AND CLEOPATRA'S END Colleague Daisy Dunn. The conversation turns to Mark Antony'sunpopular affair with Cleopatra and his wife Fulvia, who instigated a war in Italy to counter Octavian. Dunn highlights the Roman propensity for public emotion and early marriage. Following Antony's botched suicide, Cleopatra takes her own life to avoid being paraded as a trophy by Octavian. Dunn suggests the "asp" story might be a myth covering a lethal injection or poison. NUMBER 15 THE WOMEN OF THE JULIO-CLAUDIAN DYNASTY Colleague Daisy Dunn. Dunn profiles the powerful women of the Julio-Claudian dynasty. Livia is portrayed as Augustus's essential political partner and diplomat. The segment covers the tragic life of Julia, the lechery of Caligula, and the notorious reputation of Messalina. Finally, Agrippina the Younger is described as a co-emperor to her son Nero before he turned against her. Dunn concludes that Roman politics were bloodier but more politically savvy than the Greeks. NUMBER 16

Competition and the Human Struggle with Death: Colleague Emily Wilson discusses the poem's end, where Achilles processes grief through funeral games that replace lethal combat with competition, analyzing Achilles giving Agamemnon a prize without contest—possibly a "sick burn"—and the final focus on women's lamentations, emphasizing the enduring human struggle to accept death and loss. 1717 TROY

Grief, Games, and Lamentation: The Iliad's Conclusion: Colleague Emily Wilson discusses the Iliad's conclusion, focusing on Achilles' processing of grief through the funeral pyre and games, analyzing the shift from violence to regulated competition, Achilles' ambiguous gesture of giving Agamemnon a prize without competition, and the poem ending with women's lamentations rather than a victory celebration. 6th century ice

Agamemnon's Quarrel and Divine Politics: Colleague Emily Wilson explains the catalyst for the Iliad's plot: the quarrel between Agamemnon and Achilles over a "prize" woman, leading to Achilles' withdrawal, discussing the divine politics between Zeus and Hera that seal Troy's fate and analyzing Agamemnon's flawed, burdened leadership amidst the pressure of holding the Greek forces together. SACK OF TROY

René Girard died 10 years ago today. There is one Bible story that he said represented "the history of all religion" and held "the secret to everything." Take the Agamemnon course! We'll meet online three times over the course of 8 days. https://courses.teachtothetext.com/p/agamemnon-for-adultsTake the free René Girard "course". (It's just some videos with timestamps right now.)https://courses.teachtothetext.com/p/rene-girardFind CAM here:  https://catholicsagainstmilitarism.comRSS feed: http://www.buzzsprout.com/296171​Rumble: https://rumble.com/c/CAMpodcastFind CAM here: https://catholicsagainstmilitarism.comRSS feed: http://www.buzzsprout.com/296171​Rumble: https://rumble.com/c/CAMpodcast

Come read Agamemnon with me in November! Click for more info:https://courses.teachtothetext.com/p/agamemnon-for-adultsIn this episode, I'm reading aloud a chapter from Fr. McCarthy's book, "Just War Theory: The Logic of Deceit."Find CAM here:  https://catholicsagainstmilitarism.comRSS feed: http://www.buzzsprout.com/296171​Rumble: https://rumble.com/c/CAMpodcastFind CAM here: https://catholicsagainstmilitarism.comRSS feed: http://www.buzzsprout.com/296171​Rumble: https://rumble.com/c/CAMpodcast

In this episode, we explore the story of Clytemnestra, one of the most infamous figures of Greek tragedy, remembered for murdering her husband Agamemnon upon his return from Troy. But who was Clytemnestra beyond the label of “murderess”We'll examine her story through the lens of ancient myth and literature, comparing her to her sisters Penelope and Helen, two women often idealized or vilified in very different ways.Why does Penelope become the model of loyalty, Helen the emblem of beauty and destruction, and Clytemnestra the embodiment of vengeance? What does this say about how ancient Greek society and our modern world constructs archetypes of women?Chapters(0:00) – Introduction(1:34) – Melinoe, Hermes & Sources on the Gods(2:26) – Mars the Kitty Update (4:32) – The Story of Clytemnestra(13:10) – Why Was Clytemnestra's Offense So Shocking in the Ancient World?(21:14) – Clytemnestra, Penelope & Helen: Queens Compared(28:19) – Why Do We Still Pit Women Against Each OtherCheck out our Patreon, Styx and Bones Temple's Store, Blogs and more! https://beacons.ai/styxandboness⁠FOLLOW STYX AND BONES ON SOCIAL MEDIAhttps://www.instagram.com/styxandbonespodcast⁠⁠⁠FOLLOW HIGH PRIESTESS CHELSEA⁠https://www.instagram.com/highpriestesschelsea⁠⁠⁠FOLLOW DR. K⁠⁠⁠https://www.instagram.com/dirtdiaries_⁠⁠⁠

Preview: Gregory Copley reports that King Charles III and Camilla traveled to Barrow-in-Furness to commission the HMS Agamemnon, a new attack boat. The Agamemnon is the sixth of seven new Astute-class nuclear submarines entering Royal Navy service. The King's visit also served to recognize Barrow's extensive history in industrial construction and defense shipbuilding. 1928 FLYING SCOTSMAN

In this episode of Chronicles, Luca is joined by Stelios as they continue their discussion on Aeschylus' Oresteia, this time exploring the second play of the trilogy: The Libation Bearers. They examine the characters of Orestes and Electra, as their quest to avenge their father, Agamemnon, demands that they carry out the dark deed of matricide against their mother, Clytemnestra.

5/8. After the death of Patroclus, Achilles undergoes a transformation in The Iliad, as translated by Professor Emily Wilson. Initially expressing rage through the violent sacrifice of Trojan youths at Patroclus's funeral pyre, Achilles later organizes funeral games. These games, with prizes for all participants and no deaths over competition, offer a new model for how men's competitiveness could coexist without societal destruction. His act of giving Agamemnon a prize without contest can be read as gracious maturity or a "sick burn".

What moonlit god comes down to punish the Greeks with his arrows? What stray dog is the first unlikely victim of Agamemnon's wrath, and what the heck is that boat full of onions and cabbages doing in this story? The story of the Iliad continues, as brought to life by performance storyteller Jay Leeming. www.JayLeeming.com    

In this episode of Chronicles, Luca is joined by Stelios to discuss Agamemnon by Aeschylus. They explore the tradition of ancient Greek tragedy, as well as themes of revenge, justice, and hubris.

"Behold! Aeschylus! Father of Tragedy!" Arthur and Kozlowski find themselves in Athens, in the midst of the Dionysia, a great theatre competition. Socrates, Euripides and Aeschylus are all competing for the prestigious prize of... a goat! But The Brotherhood of the Phoenix have come to Athens for more than just watching plays. Why does Aeschylus, wildly successful author of The Oresteia, Prometheus Unbound and Agamemnon want to fake his death? The episode is written by Philip Thorne and Oystein Brager, with dialogue editing by Philip Thorne and sound design by Paul Kraner. It features Alan Burgon as the Interviewer, Dino Kelly as Aeschylus, Hemi Yeroham as Kozlowski, Tim Meredith, Rhys Lawton, Adam Courting and Nathan Peter Grassi as the chorus, and Felix Trench as the Chorus Leader. The chorus was recorded at Soho Sonic in London, with engineering by Beth Grainger. Website: https://ameliapodcast.com/  Transcripts: https://ameliapodcast.com/season-5  Patreon: https://www.patreon.com/ameliapodcast Donations: https://ameliapodcast.com/support Merch: https://www.teepublic.com/stores/the-amelia-project?ref_id=6148 Bluesky: https://bsky.app/profile/theameliaproject.bsky.social Instagram: https://www.instagram.com/ameliapodcast/ Tumblr: https://www.tumblr.com/ameliapodcast X: https://twitter.com/amelia_podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Vanessa Cominsky joins Case and Sam to RAGE against this awkward historical epic! Overview Podcast hosts Case Aiken and Sam Alicea provide a framework for discussing the 2004 film Troy, highlighting its connection to early 2000s epic films like Gladiator and 300. Vanessa Cominsky, a guest and classics major, notes a 4-year professional bond with Case stemming from shared academic interests. David Benioff, the film's screenwriter, is discussed in relation to his later work on Game of Thrones and identified issues in narrative depth. Whitewashing criticism surfaces regarding the film's predominantly white cast, despite its story set in a historically diverse region. Analysis reveals a lack of clear passage of time, compressing the depicted 10-year Trojan War into a brief narrative span. Costume design receives praise for historical accuracy while the film's runtime discrepancies are critiqued, with the director's cut deemed excessive. Thematic exploration includes Agamemnon's characterization as a villain symbolizing US imperialism, contrasting with sympathetic portrayals of the Trojans. Sean Bean's potential as Odysseus is noted but criticized for underutilization, while Peter O'Toole's Priam provides limited but impactful performance. Improvement suggestions include altering the title to better reflect Achilles' journey and revising the narrative structure to enhance character development. Upcoming initiatives include a scholarship program for women in wine, launched by Vanessa Cominsky's nonprofit Vin Vitalite in 2025. @vminsky @womenofwinedc Www.vinVitalité.org (Pronounced vinn vitahlihtay) Notes ️ Podcast Introduction & Setup (00:00 - 02:45) Hosts Case Aiken and Sam Alicea introduce the 'Another Pass' podcast, discussing movie analysis and improvements. Guest Vanessa Cominsky introduced as Case's coworker from wine/spirits industry and fellow classics major. Discussion of 4-year professional relationship and bonding over classics background. Movie Context & Background (02:45 - 09:38) Analysis of 2004 film Troy as adaptation loosely based on oral tradition. Discussion of movie within context of early 2000s epic films including Gladiator, 300, and Lord of the Rings trilogy. David Benioff identified as screenwriter, connecting to later Game of Thrones writing style issues. Observation that Odysseus character tells audience he's clever but never demonstrates intelligence in actual scenes. Political interpretation: movie reflects 2004 centrist liberal perspective on Middle Eastern conflicts with 'support the troops' messaging. Film Production & Casting Analysis (09:38 - 19:22) Vanessa's personal connection: used movie for high school Latin convention project and senior thesis. Whitewashing criticism - movie depicts conflict between Greece and Middle East with entirely white cast. Brad Pitt as main marketing draw playing Achilles in peak popularity period. Case's viewing experience in Rome during classics trip, creating nostalgic connection to material. Story Structure & Adaptation Choices (19:22 - 28:32) Movie covers broader Trojan War story rather than just Iliad, including Trojan Horse sequence not in original epic. Brian Cox as Agamemnon praised as perfect casting choice despite whitewashing issues. Discussion of movie's approach to gods - humans take credit for actions rather than divine intervention. ️ Character Analysis - Heroes and Villains (28:32 - 38:14) Agamemnon positioned as main villain representing US imperialism, while Trojans portrayed sympathetically. Hector vs Achilles juxtaposition works well as respective champions of each side. Orlando Bloom as Paris criticized as too whiny and lacking roguish charm needed for character. Eric Bana as Hector praised as everyone's 'big brother' figure and moral center. Production Design & Technical Elements (38:14 - 47:42) Costume design highly praised for historical accuracy and visual distinction between Greeks and Trojans. Director's cut vs theatrical cut - director's cut too long at 3 hours 16 minutes with unnecessary gore. Runtime issues - theatrical cut feels rushed while director's cut is excessive. War Portrayal & Geographic Issues (47:43 - 56:37) Time compression problem - 10-year war feels like weeks or months with no passage of time indicated. Troy's geography poorly established - unclear city layout and siege logistics. Siege warfare portrayed as single-direction battle rather than comprehensive blockade. Thematic Elements & Religious Context (56:38 - 01:05:46) Gods' role minimized to hint at divine influence without direct intervention. Moral philosophy embedded in Achilles-Briseis conversations about mortality and divinity. Historical accuracy questioned regarding Bronze Age vs Classical Greek terminology and social structures. Casting and Performance Critique (01:05:46 - 01:15:32) Sean Bean as Odysseus underutilized despite perfect casting choice. Peter O'Toole as Priam noted as big casting choice but limited screen time. James Cosmo casting questioned as underused Trojan general. Improvement Proposals - Sam's Pitch (01:15:32 - 01:26:16) Title change to 'The Wrath of Achilles' to better reflect actual story focus. Sean Bean expansion - more scenes showing passage of time and war strategy. Runtime reduction - cut Trojan perspective to focus on Greek side and Achilles' journey. Narrative structure - use Odysseus as storyteller/narrator rather than voiceover. Improvement Proposals - Vanessa's Pitch (01:26:16 - 01:36:20) Scope change to focus on Achilles from moment Odysseus recruits him. Character development - establish Greek power structure and vassal relationships. Agamemnon characterization - emphasize him as villain representing imperialism more clearly. Improvement Proposals - Casey's Pitch (01:36:20 - 01:45:13) Geographic clarity - establish Troy's layout and siege positioning with additional CG shots. Time passage - visual indicators and dialogue establishing years-long conflict. Battle variety - different environments including sea battles and raids on surrounding areas. Violence balance - between theatrical cut's sanitization and director's cut's excess. Final Discussion & Wrap-up (01:45:13 - 02:05:58) David Benioff background revealed as Goldman Sachs executive's son, explaining Hollywood access. Vanessa's organization - Vin Vitalite, DC women in wine industry nonprofit with 501(c)(3) status. Scholarship program launching 2025 for women in wine industry. Next episode preview - Highlander 2: The Quickening.  

Achilles. Agamemnon. Odysseus. Hector. The lives of these and many other men in the greatest epics of ancient Greece have been pored over endlessly in the past three millennia. But these are not just tales about heroic men. There are scores of women as well—complex, fascinating women whose stories have gone unexplored for far too long. In Penelope's Bones: A New History of Homer's World through the Women Written Out of It (University of Chicago Press, 2025), award-winning classicist and historian Dr. Emily Hauser pieces together compelling evidence from archaeological excavations and scientific discoveries to unearth the richly textured lives of women in Bronze Age Greece—the era of Homer's heroes. Here, for the first time, we come to understand the everyday lives and experiences of the real women who stand behind the legends of Helen, Briseis, Cassandra, Aphrodite, Circe, Athena, Hera, Calypso, Penelope, and more. In this captivating journey through Homer's world, Dr. Hauser explains era-defining discoveries, such as the excavation of Troy and the decipherment of Linear B tablets that reveal thousands of captive women and their children; more recent finds like the tomb of the Griffin Warrior at Pylos, whose tomb contents challenge traditional gender attributes; DNA evidence showing that groups of warriors buried near the Black Sea with their weapons and steeds were, in fact, Amazon-like female fighters; a prehistoric dye workshop on Crete that casts fresh light on “women's work” of dyeing, spinning, and weaving textiles; and a superbly preserved shipwreck off the coast of Turkey whose contents tell of the economic and diplomatic networks crisscrossing the Bronze Age Mediterranean. Essential reading for fans of Madeline Miller or Natalie Haynes, this riveting new history brings to life the women of the Bronze Age Aegean as never before, offering a groundbreaking reassessment of the ancient world. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Achilles. Agamemnon. Odysseus. Hector. The lives of these and many other men in the greatest epics of ancient Greece have been pored over endlessly in the past three millennia. But these are not just tales about heroic men. There are scores of women as well—complex, fascinating women whose stories have gone unexplored for far too long. In Penelope's Bones: A New History of Homer's World through the Women Written Out of It (University of Chicago Press, 2025), award-winning classicist and historian Dr. Emily Hauser pieces together compelling evidence from archaeological excavations and scientific discoveries to unearth the richly textured lives of women in Bronze Age Greece—the era of Homer's heroes. Here, for the first time, we come to understand the everyday lives and experiences of the real women who stand behind the legends of Helen, Briseis, Cassandra, Aphrodite, Circe, Athena, Hera, Calypso, Penelope, and more. In this captivating journey through Homer's world, Dr. Hauser explains era-defining discoveries, such as the excavation of Troy and the decipherment of Linear B tablets that reveal thousands of captive women and their children; more recent finds like the tomb of the Griffin Warrior at Pylos, whose tomb contents challenge traditional gender attributes; DNA evidence showing that groups of warriors buried near the Black Sea with their weapons and steeds were, in fact, Amazon-like female fighters; a prehistoric dye workshop on Crete that casts fresh light on “women's work” of dyeing, spinning, and weaving textiles; and a superbly preserved shipwreck off the coast of Turkey whose contents tell of the economic and diplomatic networks crisscrossing the Bronze Age Mediterranean. Essential reading for fans of Madeline Miller or Natalie Haynes, this riveting new history brings to life the women of the Bronze Age Aegean as never before, offering a groundbreaking reassessment of the ancient world. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Achilles. Agamemnon. Odysseus. Hector. The lives of these and many other men in the greatest epics of ancient Greece have been pored over endlessly in the past three millennia. But these are not just tales about heroic men. There are scores of women as well—complex, fascinating women whose stories have gone unexplored for far too long. In Penelope's Bones: A New History of Homer's World through the Women Written Out of It (University of Chicago Press, 2025), award-winning classicist and historian Dr. Emily Hauser pieces together compelling evidence from archaeological excavations and scientific discoveries to unearth the richly textured lives of women in Bronze Age Greece—the era of Homer's heroes. Here, for the first time, we come to understand the everyday lives and experiences of the real women who stand behind the legends of Helen, Briseis, Cassandra, Aphrodite, Circe, Athena, Hera, Calypso, Penelope, and more. In this captivating journey through Homer's world, Dr. Hauser explains era-defining discoveries, such as the excavation of Troy and the decipherment of Linear B tablets that reveal thousands of captive women and their children; more recent finds like the tomb of the Griffin Warrior at Pylos, whose tomb contents challenge traditional gender attributes; DNA evidence showing that groups of warriors buried near the Black Sea with their weapons and steeds were, in fact, Amazon-like female fighters; a prehistoric dye workshop on Crete that casts fresh light on “women's work” of dyeing, spinning, and weaving textiles; and a superbly preserved shipwreck off the coast of Turkey whose contents tell of the economic and diplomatic networks crisscrossing the Bronze Age Mediterranean. Essential reading for fans of Madeline Miller or Natalie Haynes, this riveting new history brings to life the women of the Bronze Age Aegean as never before, offering a groundbreaking reassessment of the ancient world. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/archaeology

Achilles. Agamemnon. Odysseus. Hector. The lives of these and many other men in the greatest epics of ancient Greece have been pored over endlessly in the past three millennia. But these are not just tales about heroic men. There are scores of women as well—complex, fascinating women whose stories have gone unexplored for far too long. In Penelope's Bones: A New History of Homer's World through the Women Written Out of It (University of Chicago Press, 2025), award-winning classicist and historian Dr. Emily Hauser pieces together compelling evidence from archaeological excavations and scientific discoveries to unearth the richly textured lives of women in Bronze Age Greece—the era of Homer's heroes. Here, for the first time, we come to understand the everyday lives and experiences of the real women who stand behind the legends of Helen, Briseis, Cassandra, Aphrodite, Circe, Athena, Hera, Calypso, Penelope, and more. In this captivating journey through Homer's world, Dr. Hauser explains era-defining discoveries, such as the excavation of Troy and the decipherment of Linear B tablets that reveal thousands of captive women and their children; more recent finds like the tomb of the Griffin Warrior at Pylos, whose tomb contents challenge traditional gender attributes; DNA evidence showing that groups of warriors buried near the Black Sea with their weapons and steeds were, in fact, Amazon-like female fighters; a prehistoric dye workshop on Crete that casts fresh light on “women's work” of dyeing, spinning, and weaving textiles; and a superbly preserved shipwreck off the coast of Turkey whose contents tell of the economic and diplomatic networks crisscrossing the Bronze Age Mediterranean. Essential reading for fans of Madeline Miller or Natalie Haynes, this riveting new history brings to life the women of the Bronze Age Aegean as never before, offering a groundbreaking reassessment of the ancient world. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Achilles. Agamemnon. Odysseus. Hector. The lives of these and many other men in the greatest epics of ancient Greece have been pored over endlessly in the past three millennia. But these are not just tales about heroic men. There are scores of women as well—complex, fascinating women whose stories have gone unexplored for far too long. In Penelope's Bones: A New History of Homer's World through the Women Written Out of It (University of Chicago Press, 2025), award-winning classicist and historian Dr. Emily Hauser pieces together compelling evidence from archaeological excavations and scientific discoveries to unearth the richly textured lives of women in Bronze Age Greece—the era of Homer's heroes. Here, for the first time, we come to understand the everyday lives and experiences of the real women who stand behind the legends of Helen, Briseis, Cassandra, Aphrodite, Circe, Athena, Hera, Calypso, Penelope, and more. In this captivating journey through Homer's world, Dr. Hauser explains era-defining discoveries, such as the excavation of Troy and the decipherment of Linear B tablets that reveal thousands of captive women and their children; more recent finds like the tomb of the Griffin Warrior at Pylos, whose tomb contents challenge traditional gender attributes; DNA evidence showing that groups of warriors buried near the Black Sea with their weapons and steeds were, in fact, Amazon-like female fighters; a prehistoric dye workshop on Crete that casts fresh light on “women's work” of dyeing, spinning, and weaving textiles; and a superbly preserved shipwreck off the coast of Turkey whose contents tell of the economic and diplomatic networks crisscrossing the Bronze Age Mediterranean. Essential reading for fans of Madeline Miller or Natalie Haynes, this riveting new history brings to life the women of the Bronze Age Aegean as never before, offering a groundbreaking reassessment of the ancient world. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

So, is there a Homeric influence on the New Testament? Or, more specifically (per MacDonald), did Luke deliberately pattern and structure elements in Acts of the Apostles on episodes from Iliad 2? In this episode, the guys consider the case that MacDonald lays out, namely that Luke pairs the visions of Cornelius and Peter (in Acts 10 and 11) in a way that tags the Zeus-sent dream to Agamemnon and Odysseus' recollection of the portent of the serpent and the sparrow. Does it hold up? Would a first century audience have recognized it as such? Are the linguistic parallels convincing? And perhaps the biggest question of all: why tag Homer in the first place?

Christian Limon is the former Chief Growth Officer at Wish, which was the top spending advertiser on Google and Facebook. He was also the Chief Growth Officer at Tubi and Gemini. Throughout his career, Christian has achieved five exits and $28 billion in IPO and M&A proceeds. He has launched 20 apps and led 33 more apps on growth and monetization. Eric Seufert is the General Partner at Heracles Capital, a pre-seed venture capital fund focused on the mobile technology ecosystem. After beginning his career at Skype, he held a marketing leadership role at Rovio, where he launched Angry Birds 2. Eric also founded Agamemnon, a mobile marketing analytics startup acquired in 2017. He is the author of Freemium Economics and manages Mobile Dev Memo, a blog on mobile advertising and monetization. In this episode… Today's marketers face a challenging paradox: the more data they have, the harder it is to identify what's valuable. Between conflicting attribution reports, algorithm-driven campaign shifts, and pressure to scale fast, many teams optimize for metrics that don't move the needle. How can growth leaders cut through the noise to build scalable and realistic strategies? Seasoned mobile growth strategist Christian Limon emphasizes the need for broad, strategic creative testing that breaks out of traditional methods like UGC. He recommends marketers tap into unconventional sources and avoid over-controlling creative input. Leading economic and digital marketing strategist Eric Seufert urges brands to prioritize commercial outcomes like profit and ROAS rather than exclusive platform metrics. Marketers can also use AI to enhance workflows and generate ideas for optimizing LTV.  Join William Harris in today's episode of the Up Arrow Podcast as he chats with Christian Limon, growth strategist, and Eric Seufert, General Partner at Heracles Capital, about optimizing growth marketing. Together, they discuss how to identify meaningful marketing metrics, how to build systematic, creative-first campaigns, and the dangers of over-diversifying channels.

https://www.patreon.com/joytactics

A story of war, honour, and destiny, The Iliad is one of the greatest epics of in history. Written by Homer and featuring legendary figures like Achilles, Hector, and Agamemnon, it captures the drama and devastation of the final days of the Trojan War.In this episode of The Ancients, Tristan Hughes is joined by Professor Edith Hall to explore the origins, themes, and lasting influence of The Iliad. Together, they dive into the poem's portrayal of fate and prophecy, its vivid depictions of gods and warriors, and the explosive conflict between Achilles and Hector. Edith also reveals how The Iliad's language carries an apocalyptic tone - offering insight into how the poem was understood in the ancient world and why it still resonates today.Presented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

Vengeance is sweet - sometimes. Explore revenge in Harry Potter and the ancient Greek Oresteia by Aeschylus. We welcome back to the show classicist Dr. Mitchell Parks (Knox College), who presented on "Dumbledore, Agamemnon, and the Imperfect Legacy" at the 2024 Harry Potter Academic Conference. He was struck by the epigraph from The Libation Bearers, one of the plays that makes up the Oresteia, at the beginning of Harry Potter and the Deathly Hallows. We discuss the parallels between the play trilogy and the book series, particularly the intertwined themes of justice and revenge. Although there are some similarities between Harry and Orestes, the former spends much more time wrestling with his options and emotions than the latter. The two texts have very different gender politics, which have been reinterpreted in different ways over the years based on current contexts. Although authorial intent is not Mitchell's main interest, the author made a very deliberate choice to include the epigraph, which is formatted similarly to the lightning bolt-shaped dedication. Still, if a reader can notice parallels and convince other readers of their significance, whether or not the author had a deep familiarity with the referenced text doesn't invalidate the meaning.

Few figures in Greek mythology embody vengeance like Elektra, daughter of Agamemnon and Clytemnestra. Betrayal, grief, and justice shaped her tragic fate.In this episode of The Ancients, Tristan Hughes is joined by Professor Armand D'Angour to explore Elektra's story and its powerful new London stage production starring Brie Larson. Along the way, they delve into Sophocles' and Euripides' strikingly different portrayals - one noble and resolute, the other bitter and broken - unpacking what these versions reveal about morality, fate, and female agency in the ancient world.See Brie Larson star as Elektra in London's West End: https://www.thedukeofyorks.com/elektraPresented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

PREVIEW: HOMER'S ILIAD: A conversation with Professor Emily Wilson reveals how six years of translation work led her to develop respect and sympathy for the troubled character of Agamemnon. More soon. 500BCE

It is 1793 and France has declared war on Britain, meaning that the British navy must serve as both sword and shield to Europe. Horatio Nelson is at this time a slim and sickly 34 year old captain who nevertheless burns with the zeal to serve his king and country, and has recently taken over command of the impressive Agamemnon. Meanwhile, the British navy has taken Toulon by the summer of 1793 through diplomatic means - its foothold in the Mediterranean - but is struggling to hold it. Upon arriving in the city Nelson is shocked to find it besieged by the French, under the leadership of one Napoleon Bonaparte - the first time that these two titanic rivals of history will brush shoulders, but not the last. At last the city falls to the French, and the British must go in search of another Mediterranean base. They settle upon Corsica - Bonaparte's homeland. It is there, on the morning of the 12th of July that during the siege of Calvi that Nelson is struck in the face by a spray of stone and shrapnel, severely blinding his left eye forever more. Will this critical injury prematurely end his promising career? Just as a great armada of Spanish and French ships gathers on the horizon, heralding the coming one of history's bloodiest naval battles... Join Dominic and Tom as they discuss the Siege of Toulon, Nelson's heroic early forays into the Mediterranean, and the dramatic aftermath of his first near fatal injury. _______ LIVE SHOWS *The Rest Is History LIVE in the U.S.A.* If you live in the States, we've got some great news: Tom and Dominic will be performing throughout America in November, with shows in San Francisco, L.A., Chicago, Philadelphia, Washington D.C., Boston and New York. Tickets on sale now at TheRestIsHistory.com _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Liv reads speeches from Seneca's Thyestes and Agamemnon, translated by Frank Justus Miller. Ask your questions for the next Q&A episode here! This is not a standard narrative story episode, it's a reading of an ancient source, audiobook style. For regular episodes look for any that don't have "Liv Reads..." in the title! For a list of Roman/Latin names and who they were in the Greek, visit: mythsbaby.com/names Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

The final narrative episode of the Euripides series has been postponed... For now, welcome to Spooky Season. This episode originally aired in 2021. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Theoi.com: Aeschylus' Agamemnon, translated by Herbert Weir Smyth and found on Theoi; Early Greek Myths by Timothy Gantz. Episode title is an edited quote from Scream 2. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

And we're off to the races! The Iliad begins in earnest this week with the outbreak of the feud between Achilles and Agammemnon (#TeamAchilles). The drama that unfolds contains almost the entirety of all that was to come in Greek culture, from the terror of hubris to the magnificent achievement of city-states in coalition. Plus: stick around to the end for a bunch of very cool announcements. Trump the Sandworm: https://x.com/Babygravy9/status/1823830496872136776 Sign up to Audit my Class: ncf.edu/youngheretics Foundations of the West:Athens and the Logos Greek Myth Comix: https://greekmythcomix.com/comic/deaths-in-the-iliad-a-classics-infographic/ Check out our sponsor, the Ancient Language Institute (now offering Old English instruction!): https://ancientlanguage.com/youngheretics/ Pre-order my new book, Light of the Mind, Light of the World: https://a.co/d/2QccOfM Subscribe to my new joint Substack with Andrew Klavan (no relation): https://thenewjerusalem.substack.com