Podcasts about greek epic

Enter a Greek Epic wargame where the chosen of the Gods fight to control loot, fortune and fame. In Demigod, by Chris Bahnweg of NoNameGames, you control beings cast by divinity to grow to something greater. Join me, Zach Walsh, as we explore the conception, ease of entry and the wonderful ways that Demigod can stand out compared to other Wargames of similar genre!Want Demigod? Get it here!itch - https://no-name-games.itch.io/demigodWebsite - https://no-name-games.com/Twitter - https://twitter.com/n_n_gamesWant to follow me or the show? Then check these Links!BlueSky- https://bsky.app/profile/scheduled4launch.bsky.socialTwitter - https://twitter.com/Schedule4LaunchEmail - scheduledforlaunch@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Tom Vasel discusses his ongoing solo play through of the epic campaign game, Aeon Trespass: Odyssey!

Tom Vasel discusses his ongoing solo play through of the epic campaign game, Aeon Trespass: Odyssey!

Tom Vasel discusses his ongoing solo play through of the epic campaign game, Aeon Trespass: Odyssey!

Tom Vasel discusses his ongoing solo play through of the epic campaign game, Aeon Trespass: Odyssey!

Professor Kozlowski contextualizes the writings of Homer according to the archaeological and historical evidence of the Greek culture from its earliest origins in the Cycladic, Minoan, and Mycenaean cultures, through the Bronze Age Collapse and subsequent Dark Age, to the very beginning of the Classical era. Along the way we'll examine what Homer got right about the Bronze Age, what he imported from the Iron Age, and what that might mean about his sources, the tradition of Greek Epic, and his own artistic priorities. If you have questions or topic suggestions for Professor Kozlowski, e-mail him at profbkozlowski2@gmail.com To see what else Professor Kozlowski is up to, visit his webpage: https://professorkozlowski.wordpress.com/

57: Watership Down and the Classics Written by Andrew Stevens Full references: Richard Adam's biographical note in the Puffin edition of Watership Down describes him as having “more than a passing acquaintance with the giants of English literature”(1)… ...The three great epics...Homer's Iliad and Odyssey and Virgil's Aeneid do seem to feature throughout the novel, as does the wider Greek Epic cycle...There are...scholarly works on structural similarities and narrative technique between the poems and the novel, Chapter 2 of Dr Hannah Parry's 2016 thesis “The Aeneid with Rabbits: Children's Fantasy as Modern Epic”(2) is one fine example.... Chapter 1 opens with a quote from Aeschylus' Agamemnon, the story of the Greek king's...homecoming after the sack of Troy...the destruction of a former home also matches how Aeneas tells his story to Queen Dido in Virgil's Aeneid (3). ...the available evidence strongly suggests that the English translation of the Agamemnon excerpt is Adams' own (4). ...The Warren of the Snares has been likened to the Lotus Eaters from the Odyssey (5) ...The Anabasis has been described by Michael Flower as the “master-plot” of the escape story in Western literature (6)... ...A parallel exists between the Anabasis and Watership Down... army vanguard reaches the summit of Mount Theces...They cry out “Thalatta! Thalatta!” “The Sea! The Sea”... (7), an event alone that has inspired entire scholarly works on its cultural significance (8). When Dandelion...cries out “You can see the whole world” (9), this is their Thalatta moment. Classical culture and history combine in the character of Bigwig...Before the battle, some sources state that the Persians invited the Greeks to lay down their arms and have their lives spared. They are said to have replied simply “Molon labe – come and get them” (10)...when Bigwig invites his Russian Warship of an opponent to “silflay hraka, u embleer rah”(11), his humour is crude, perfect and feels very Spartan. It is easy to draw a comparison of Hazel...and Bigwig...to Odysseus and Ajax in the Little Iliad...Bigwig's contempt for the idea of Hazel being superior to him in Chapter 11 (12), shows his view at this point that a strong rabbit could never answer to a weaker one. At the novels' climax, we learn in his explosive, revelatory statement of “My Chief Rabbit has told me to defend this run …”(13) that, unlike Ajax, Bigwig has accepted his and his rah's positions... A final note on Classics in Watership Down is the title of Chapter 48 (14). Dea ex Machina means “Goddess out of the Machine”... 1 WD p.479 2 Parry, pp.33-53 3 Parry, p.39 4 Bridgman, pp.161-2 5 Parry, pp.40-2 6 Flower, p.47 7 Anab. 4.7.11 8 Rood, 2004 9 WD, p.134 10 Cartledge, p.142 11 WD p.451 12 WD, p.68 13 WD p.454 14 WD, p.458 Primary sources Adams, Richard (1972) Watership Down, Puffin Books, Harmondsworth Xenophon Anabasis in Waterfield, R. (trans.) (2005) The Expedition of Cyrus, Oxford, Oxford Worlds' Classics Secondary sources Bridgman, J. (1990) The Writing, Publication and Literary Context of Watership Down. PhD Thesis, University College London, London https://www.proquest.com/docview/1924932476/3D1CFE091B584D0APQ/4 Cartledge, P. (2006) Thermopylae – The Battle that Changed the World, London, Macmillan Flower, M.A (2012) Xenophon's Anabasis or The Expedition of Cyrus, Oxford, Oxford University Press Parry, H (2016) The Aeneid with Rabbits: Children's Fantasy as Modern Epic. PhD Thesis, Te Herenga Waka - Victoria University of Wellington, Wellington, New Zealand https://researcharchive.vuw.ac.nz/handle/10063/5222 Rood, T. (2004) The Sea! The Sea! The Shout of the Ten Thousand in the Modern Imagination, London, Duckworth Overlook Further Reading Hardwick, L. (2003) Reception Studies: New Surveys in the Classics, Greece & Rome, New Surveys in the Classics, no. 33, Oxford, Oxford University Press Andrew Stevens, March 2022 --- Send in a voice message: https://anchor.fm/watershipdown/message

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Wir alle haben Gefühle - und denken naheliegenderweise, dass Menschen vor Jahrtausenden diese genauso fühlten. Immerhin sprachen auch sie von “Liebe”, “Hass”, “Freude” und “Trauer”. Mit dem “Zorn des Achilles” beginnt sogar eines der ältesten Werke der Weltliteratur: Die Ilias. Ob das wirklich stimmt - daran beginnen Historiker:innen seit einiger Zeit zu zweifeln. Ihre These: Unsere Emotionen verändern sich über die Jahrhunderte - wir “fühlen” tatsächlich anders, als es Menschen in früheren Epochen taten. Belege dafür finden sich nicht nur in Quellen, sondern auch in der psychologischen und anthropologischen Forschung. Ob auch Gefühle eine “Geschichte” haben: Darüber sprechen wir heute mit der Historikerin Ute Frevert. Und warum ein bewusster Umgang mit Gefühlen wichtig für unsere psychische Gesundheit ist - das erklärt uns der Psychologe und Podcaster Leon Windscheid. **Quellen & Shownotes** - Ute Frevert auf den Seiten des Max-Planck-Instituts für Bildungsforschung: https://www.mpib-berlin.mpg.de/mitarbeiter/ute-frevert/ - Leon Windscheids Homepage: https://www.leonwindscheid.de/ - David Starkey: Six Wives. The Queens of Henry VIII. New York 2003. - Heinrich VIII hat mit großer Wahrscheinlichkeit nicht “Greensleeves” komponiert, aber tatsächlich viele Liebesbriefe geschrieben: https://www.theanneboleynfiles.com/resources/anne-boleyn-words/henry-viiis-love-letters-to-anne-boleyn/ - Paul Ekman (1992): Are There Basic Emotions? in: Psychological Review 99/3, S. 550-553. - In der anthropologischen Forschung wird die Luganda-Sprache als Beispiel für eine Sprache erwähnt, in der für “Wut” und “Trauer” dieselben Begriffe verwendet werden. James A. Russell (1991): Culture and the Categorization of Emotions, in: Psychological Bulletin 110/3, S. 426-450. - Ute Frevert: Gefühle in der Geschichte. Göttingen 2021. - Ute Frevert: Mächtige Gefühle. Von A wie Angst bis Z wie Zuneigung - Deutsche Geschichte seit 1900. Frankfurt am Main 2020. - Ute Frevert: Ehrenmänner. Das Duell in der bürgerlichen Gesellschaft. München 1995. - Philippe Ariès: Geschichte des Todes. München 1995 - Diagnosekriterien der 'anhaltenden Trauerstörung' nach ICD‑11 und DSM‑5: https://link.springer.com/article/10.1007/s00115-018-0577-2/tables/1 - Leonard Muellner: The Anger of Achilles. Mênis in Greek Epic. Ithaca–London 1996. - "Through the Language Glass: How Words Colour Your World by Guy Deutscher". The Guardian, 12.06.2010, https://www.theguardian.com/books/2010/jun/12/language-glass-colour-guy-deutscher - "There's Evidence Humans Didn't Actually See Blue Until Modern Times". Science Alert, 07.04.2018, https://www.sciencealert.com/humans-didn-t-see-the-colour-blue-until-modern-times-evidence-science - Leon Windscheid: Besser fühlen. Eine Reise zur Gelassenheit. Hamburg 2021. - Unsere Beispiele für Gefühle in anderen Kulturen (wie "hiraeth" und ”iktsuarpok") stammen aus folgendem Buch: Tiffany Watt Smith: The Book of Human Emotions. New York–Boston–London 2015. - "The history of human emotions". TED-Talk mit Tiffany Watt Smith, November 2017, https://www.ted.com/talks/tiffany_watt_smith_the_history_of_human_emotions "Terra X Geschichte - der Podcast" findet Ihr jeden zweiten Freitag auf www.terra-x.zdf.de und überall, wo es Podcasts gibt. Für Themenvorschläge oder Feedback: terrax-online@zdf.de Mehr von Mirko zum Thema Geschichte findet ihr hier: www.youtube.com/c/MrWissen2goGeschichte/ www.instagram.com/mrwissen2gogeschichte/ - Moderation: Mirko Drotschmann - Sprecher*innen: Inga Haupt, Marvin Neumann - Autor: Andie Rothenhäusler - Schnitt: Aline Kinzie - Fachliche Beratung: Daniela Ssymank - Produktion: objektiv media GmbH im Auftrag des ZDF - Redaktion ZDF: Katharina Kolvenbach

The second-to-last prezzy wezzy candidate for this US election of 1852 has quite a story. This man has seen significant action in nearly every single international conflict this podcast has encountered so far. He was even there for a buncha domestic flares too! Sometimes, we just get a whole Greek Epic of an episode... This is one of those times! Become a Patron!

Sharpen your sword & ready your chariot, we're in for an epic adventure! 'The Aeneid' by Virgil is an epic poem that follows Aeneas and his fellow Trojans as they cross 3 continents trying to establish a new home. It contains all that you would expect from this era; seductive princesses, wrathful Gods, strange monsters and grand battles. The main themes that arise from the tale are obligation/dutiful respect and whether fate allows any room for free will.I summarised the book as follows. "This poem is the best of both worlds. The first half contains a seafaring adventure similar to The Odyssey and the second half is of warring armies reminiscent of The Iliad. Perfect for anybody who loves mythology and actually will impart useful knowledge of history &/or geography. Easily my favourite of these three epics due to the character of Aeneas and the two part split."As always, I hope you have a fantastic day wherever you are in the world. Kyrin out!Timeline:(0:00) - Intro & Synopsis(5:15) - Pietas: Obligation & dutiful respect(7:41) - Fate: Is there any room for free will?(10:37) - Personal Observations/Takeaways(13:09) - SummaryConnect with Mere Mortals:Website: https://www.meremortalspodcast.com/Instagram: https://www.instagram.com/meremortalspodcast/

A new season starts. Episode 26, Season 5. "Don't sacrifice the Storyteller." Imagine you create a theater company. You decide to bring to life an ancient poem called the Battle of the Frogs and Mice. You hold auditions, and you study the ancient storytellers called the Rhapsodoi. Picking out the best storytellers and musicians you travel to the 21st century version of the Dionysia, one of the world's largest art festivals The Fringe in Edinburgh, Scotland. Amongst the hubbub of musicians, artists, jugglers, comedians you perform your play in the mayhem of an artistic frenzy. Episode 26, Season 5 is an adventure story. This podcast it titled: "Don't sacrifice the Storyteller.' CAST OF CHARACTERS 1. Andrew, flame haired 2. Hayley, the crowd gatherer 3. Howard, the hairy faced teller of Tales 4. David, bringer of resonance 5. Louise, organizer of fun The members of Helicon Story Telling Theatrical productions brings to Ancient Rome Refocused a story of taking a parody of the ancient epic poem and bringing it to Edinburgh. This podcast is a serious discussion of the ancient world, and the technical aspects of putting on a play. Through their own words the producers, actors and the musician tell of an adventure. This podcast is a discussion of the arts, music, and the world of theater. Bonus material is provided with a discussion of Milman Parry, the American scholar of epic poetry, and KLEOS, the ancient concept of eternal fame. What is this poem. Once upon a time there was a poem that told about a war between the Frogs and the Mice. Someone in ancient antiquity decided to tell a tall tail (ha, you don't know how long I've been waiting to use that) tale about a war that took place between frogs and mice in the pond. Batrachomyomachia is how you say it in Greek. Can you say Batrachomyomachia? I had to practice. BA-TRA-CHO-MY-O-MACH-I-A Who wrote it? Some say Homer. Some accounts say that Alexander the Great even mentioned the poem. Pigres of Halicarnassus? Take your pick. This poem has been translated through centuries. It has recently regained interest on this side of the new millennia. Don't think Saturday Morning TV. It reads like a Greek Epic, narrated through Homeric passages with plenty of gore. Animals acting like humans, is a device well-known to any writer. The Battle of the Frogs and Mice was not originally intended as children's entertainment - WHEN FIRST SPOKEN BY THE WANDERING RHAPSODOI, as their audience leaned on the couches or sat cross-legged by the fire. Each listener in those times must have heard a tale or two of the mouse removing the thorn from the lion's paw, or the story of the tortoise and the hare. Imagine hearing these familiar tales for the first time. This was 'man on the street' philosophy. This is called ANTHROPOMORPHISM, human psychology at its best – see ourselves through others. Great thoughts, made digestible when presented at a distance by frogs and mice in some land off yonder – even if it’s the pond -in ONCE UPON A TIME. Animals have appeared in prose, poetry and history by writers such as Homer, Aexop, Herodotus, Lucretius, Oppian, Ovid, Diodorus Siculus and Dio Cassius. This plot device is done today in such works as: Watership Down, The Rats of Nimh, and Animal Farm – all are examples of the art. In "Don't kill the Storyteller" the participants have been paired with epithets to denote characteristics much like the fleet-foot Achilles. They chose their own epithet, which denotes an interesting psychological angle to this show. What would you choose? In the ancient poem, the army of mice brandish names such as Grain plunderer, Bread eater, licker of meal, Cheese scooper, and Bacon tooth, and on the other side of the battle-line the frogs sport names like Puff Jaw, Mud legs, loud brawler, cabbage eater, water lover, and CROACK-SPITTLE. Of course, many of these name are the result of translation. Here is the plot of the play. Names and plotline can change with different sources: The mouse prigcheese stops on the shore of a pond, to slack his thirst. The queen Chubbycheek, the Queen of the frogs offers the tired mouse a ride on its back. Under the law of Hospitality the frog offers the mouse all manner of food and drink, including a ride on her back across the pond. A water snake raise its ugly head and Chubbycheek dives below the waves to escape the creature. Prigcheese drowns. A mouse witnesses the horrifying event, and a war counsel is held. NIbbleloaf the father of the victim, demands revenge, and war is declared against the frogs. The herald Lickpot is charged with entering enemy territory to declare war on the frogs. Every good old time war starts with a herald declaring the injustices and the justifications for slaughter. The battle takes place. The telling in graphic detail. The frogs loose, but loose gloriously, and the Gods intercede. The Gods send the crabs and both sides retreat. A war concluded in a day. Of course its all who is telling the tale. Maybe the mice and frogs join forces and rout the evil snakes from the pond. If you wish to contact the participants of this podcast see the list below: Haley Russell, known as 'crowd-gatherer' can be contacted at: heliconstorytelling@outlook.com https://heliconstorytelling.com/ Andrew Hulse, known as 'flame-haired' can be contacted at: heliconstorytelling@outlook.com https://heliconstorytelling.com/ David Denyer, known as 'bringer of resonance' can be contacted at: http://www.daviddenyermusic.co.uk/ Howard Horner, known as 'hairy-face weaver of words' can be contacted at: Howardhorner.actor@gmail.com Louise Farnall, known as 'organizer of fun' can be contacted at: heliconstorytelling@outlook.com https://heliconstorytelling.com/ or at the professional networking site LINKEDIN.

In celebration of four years of Mythunderstood, Paul shares with Sarah an Egyptian myth that harkens to a classic Greek Epic. Recorded live on Youtube Live! Want More Mythunderstood? Visit our patreon at www.patreon.com/_mythunderstood  And be a part of the conversation over on our Discord! https://discord.gg/GrnzCDW94M  Support the show by leaving a Rating & Review and be sure to visit www.dragonwagonshop.com for official Mythunderstood shirts and mugs! Mythunderstood is a part of the Dragon Wagon Radio independent podcast network. Learn more at www.dragonwagonradio.com 

Bonus Material From an interview with Dr. Joel Christensen from Brandeis University. Expertise Professor Christensen teaches courses in Greek Epic and Archaic Poetry; Rhetoric and Literary Theory; Linguistics; Mythology. Profile Joel Christensen is Associate Professor and Chair in the Department of Classical Studies at Brandeis University. He taught previously at the University of Texas at San Antonio (2007-2016). He received his BA and MA from Brandeis (’01) in Classics and English and his PhD in Classics from New York University (2007) where he also received an Advanced Certificate in Poetics and Theory. Professor Christensen has been a Fellow at the Center for Hellenic Studies (2013) and has received the Society for Classical Studies’ Award for Excellence in Teaching at the Collegiate Level (2013). In addition to articles on language, myth and literature in the Homeric epics, he has published a Beginner’s Guide to Homer (One World, 2013) and also Homer’s Thebes (CHS, 2019) with Elton T. E. barker as well as A Commentary on the Homeric Battle of Frogs and Mice (Bloomsbury, 2018) with Erik Robinson. In 2020, his "The Many-Minded Man: the Odyssey, Psychology, and the Therapy of Epic" comes out Cornell University Press.

The Batrachomyomachia or Battle of the Frogs and Mice is a comic epic, or a parody of the Iliad, commonly attributed to Homer. Prof. Joel Christensen and Eric Robinson have translated this odd poem putting frogs and mice in the place of the Homeric Heroes.Dr. Christiansen, is an associate professor of Classical Studies and comparative literature, and is the chair in the Department of classical studies, and teaches courses in Greek Epic and Archaic Poetry, Rhetoric and literary theory, linguistics, and mythology. He has taken the time to talk to us about an odd poem that has be translated repeatedly over the years. Why do people over the generations find this poem so interesting?With an original musical piece written by Matthew Leigh Embleton, a reading of the Battle of the Frogs and Mice is read not only by Dr. Christensen, but intersects with Graeme Malcolm with permission of Random House Audio books.Are you a frog or a mouse?Step into the pond and find out.

Episode 22 (S4) With a backdrop of an original musical piece composed by Matthew Leigh Embleton, British composer, we hear the piece begin with a translation of the poem (read by Dr. Christensen of Brandeis University), it jumps to an excerpt of the Battle of the Frogs and the Mice by George Martin (read by Graeme Malcolm with permission of Random House Audio Books) with the conclusion of the poem (the attack of the crabs) told with storytelling brios by Dr. Christensen. Based on his book with Eric Robinson titled: The Homeric Battle of the Frogs and Mice we can hear the story teller across the millennia tell a tale of bravery and foolishness. George Martin and the Christensen / Robinson books are available on line. In a one on one interview with Dr. Joel Christensen he guides us through this odd epic poem where the heroes are frogs and mice acting like Homeric Heroes. Was this a poem written by Homer himself? Did kids or adults listen to it? What does Homeric poetry try to teach us? Did Alexander the Great hear this poem? Dr. Christiansen, is an associate professor of Classical Studies and comparative literature, and is the chair in the Department of classical studies, and teaches courses in Greek Epic and Archaic Poetry, Rhetoric and literary theory, linguistics, and mythology. He has taken the time to talk to us about an odd poem that has be translated repeatedly over the years. Why do people over the generations find this poem so interesting? Join the podcast for a fascinating romp into Mice and Frogs Behaving Badly. Are you a frog or a mouse? Step into the pond and find out.

Episode 22 (S4) With a backdrop of an original musical piece composed by Matthew Leigh Embleton, British composer, we hear the piece begin with a translation of the poem (read by Dr. Christensen of Brandeis University), it jumps to an excerpt of the Battle of the Frogs and the Mice by George Martin (read by Graeme Malcolm with permission of Random House Audio Books) with the conclusion of the poem (the attack of the crabs) told with storytelling brios by Dr. Christensen. Based on his book with Eric Robinson titled: The Homeric Battle of the Frogs and Mice we can hear the story teller across the millennia tell a tale of bravery and foolishness. George Martin and the Christensen / Robinson books are available on line. In a one on one interview with Dr. Joel Christensen he guides us through this odd epic poem where the heroes are frogs and mice acting like Homeric Heroes. Was this a poem written by Homer himself? Did kids or adults listen to it? What does Homeric poetry try to teach us? Did Alexander the Great hear this poem? Dr. Christiansen, is an associate professor of Classical Studies and comparative literature, and is the chair in the Department of classical studies, and teaches courses in Greek Epic and Archaic Poetry, Rhetoric and literary theory, linguistics, and mythology. He has taken the time to talk to us about an odd poem that has be translated repeatedly over the years. Why do people over the generations find this poem so interesting? Join the podcast for a fascinating romp into Mice and Frogs Behaving Badly. Are you a frog or a mouse? Step into the pond and find out.

On today's bonus episode, Fr. Wesley interviews Dr. Dennis MacDonald, the John Wesley Professor of New Testament and Christian Origins at the Claremont School of Theology, about the various connections between the New Testament and the Homeric epics. Dr. MacDonald has written a number of books on the subject including: Luke and the Politics of Homeric Imitation: Luke-Acts as Rival to the Aeneid (2018); The Dionysian Gospel: The Fourth Gospel and Euripides (2017); and The Gospels and Homer: Imitations of Greek Epic in Mark and Luke-Acts (2014). We apologize for the audio quality. The interview had to conducted via phone due to technical difficulties. Please send your feedback and questions to thesacramentalitsts@gmail.com or reach out to us on Twitter @sacramentalists. The views expressed by guests do not necessarily reflect those of the hosts.

An APGRD public lecture given in May 2019: Henry Power (Exeter) discusses Homeric resonances in the work of Alexander Pope, John Keats, and Thom Gunn.

An APGRD public lecture given in May 2019: Henry Power (Exeter) discusses Homeric resonances in the work of Alexander Pope, John Keats, and Thom Gunn.

Martin West Memorial Lecture 2019 Martin West Memorial Lecture 2019 - Perspectivism and the Homeric simile - Prof Stephen Halliwell

Martin West Memorial Lecture 2019 Martin West Memorial Lecture 2019 - Perspectivism and the Homeric simile - Prof Stephen Halliwell

Almut Fries explores the iconography of the black-figured wine jug in this TORCH Bite-Size talk at the Ashmolean Museum LiveFriday The Attic black-figured wine jug illustrates a crucial scene from The Illiad, a tale in which heroism and villainy merge. This talk will explain the iconography of the vase painting (including the symbolism of the animal skins Dolon and Diomedes are wearing) and locate it in Greek mythical history – Homer and beyond