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Explore the fascinating world of dreams, with this comprehensive reference that examines 276 dream-related topics, from art to history to science, plus insights into the great thinkers, dreamers, and researchers—and interprets more than 1,000 symbols and explanations. This is the ultimate dreamer's companion! Dreams have fascinated the human mind throughout recorded history. Some believe that dreams have healing powers, spark creative inspiration, or warn us of things to come. The Dream Encyclopedia ponders these ideas and much more. Learn how how factors such as self-healing, ESP, literature, religion, sex, cognition and memory, and medical conditions can all have an effect on dreams. Dream symbolism and interpretation is examined in detail, while a special section—with over 1,000 symbols and explanations—interprets dream symbols and helps readers understanding the phenomena of dreaming. Among the dream symbols unraveled are: Airplane dreams may mean you have the power to “rise above” a situation or have the desire to break free of restrictions. Falling dreams often reflect a sense that one has failed or “fallen down” in life. Horse riding dreams most probably mean that the dreamer feels in control of his or her life. Teeth in a dream may indicate control issues. Zoo dreams may mean that a dreamer needs to tidy up some situation. James R. Lewis is a professor of philosophy, and a recognized authority on nontraditional religious movements, and has written the ultimate dreamer’s companion. This resource is unique in its in-depth exploration of dreams, the latest scientific research on dreaming and dream-related topics. Whether one is a serious student of dreams, or wishes merely to peruse the subject for pleasure, The Dream Encyclopedia explores the historical, cultural, and psychological significance of dreams. With more than 120 photos and illustrations, this tome is richly illustrated, and its helpful bibliography and extensive index add to its usefulness.
A literary portrait of the epic songwriter and poet traces the historical origins of the Odyssey and the Iliad, describing the culture that shaped their first-generation audiences while exploring theories about how both poems were written by a single, female poet. Reprint.
Excerpt from The Dream in Homer and Greek Tragedy This treatise is part of a broader investigation of the dream in all its aspects, literary and non-literary, to which I have devoted the spare hours of the last seven years. My primary interest in this investigation has been in the dream and its ways in Latin literature. A study published in Mnemosyne, 45, 78- 92, in which I suggested a possible source for one feature of a certain type of Roman dream, may be taken as defining to some extent my interest in the dream from the literary standpoint as well as presenting my conclusions with respect to the problems involved in the particular dream considered in that study. But to treat adequately the dream in Latin literature presupposes a knowledge of its ancestor and prototype in Greek literature, and so the present introductory monograph embodies one phase of my researches in the earlier field. It discusses some aspects of the dream in a portion of that field - Homer, Hesiod and Greek Tragedy. It concerns itself with the dream as an originating cause or directing principle of the action in poem or play, a moving force in the evolution of narrative or plot and in the introduction of smaller incidents and episodes. An American scholar has recently complained of the lack of a proper study of the matter of motivation in Greek and Latin tragedy and comedy. This essay touches upon a limited portion of that larger investigation. From another point of view it deals, within the limits of each dream picture, with the amplification of the dream, its increasing complexity, its growth and refinement, or its decay, as an artistic literary device. I hope at no far distant date to publish further studies in other aspects of the dream. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Greek and Roman epic poetry has always provided creative artists in the modern world with a rich storehouse of themes. Tim Supple and Simon Reade's 1999 stage adaptation of Ted Hughes' Tales from Ovid for the RSC heralded a new lease of life for receptions of the genre, and it now routinely provides raw material for the performance repertoire of both major cultural institutions and emergent, experimental theatre companies. This volume represents the first systematic attempt to chart the afterlife of epic in modern performance traditions, with chapters covering not only a significant chronological span, but also ranging widely across both place and genre, analysing lyric, film, dance, and opera from Europe to Asia and the Americas. What emerges most clearly is how anxieties about the ability to write epic in the early modern world, together with the ancient precedent of Greek tragedy's reworking of epic material, explain its migration to the theatre. This move, though, was not without problems, as epic encountered the barriers imposed by neo-classicists, who sought to restrict serious theatre to a narrowly defined reality that precluded its broad sweeps across time and place. In many instances in recent years, the fact that the Homeric epics were composed orally has rendered reinvention not only legitimate, but also deeply appropriate, opening up a range of forms and traditions within which epic themes and structures may be explored. Drawing on the expertise of specialists from the fields of classical studies, English and comparative literature, modern languages, music, dance, and theatre and performance studies, as well as from practitioners within the creative industries, the volume is able to offer an unprecedented modern and dynamic study of 'epic' content and form across myriad diverse performance arenas.