Michael Paschalis
Biographic Data
| ID | 5581339 |
|---|---|
| NAME | Michael Paschalis |
| GIVEN NAMES | Michael |
| FAMILY NAME | Paschalis |
| SIGNATURE | PASCHALIS M |
| AFFILIATIONS | University of Crete |
| VERIFIED | No |
| TOTAL WORKS | 34 |
| TOTAL CITATIONS | 25 |
| AUTHOR COUNT | 31 |
| EDITOR COUNT | 3 |
| FIRST PUBLICATION YEAR | 1982 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 3 |
Magua: The most “Homeric” character in Cooper’s novel The Last of the Mohicans
Μάγκουα: ο «ομηρικότερος» χαρακτήρας του Τελευταίου των Μοϊκανών του Τζέϊμς Φένιμορ Κούπερ Οι προμετωπίδες-παραθέματα από την ομηρική Ιλιάδα στα κεφάλαια 7, 12 και 15 του 2ου τόμου του μυθιστορήματος του Τζέϊμς Φένιμορ Κούπερ Ο τελευταίος των Μοϊκανών αποτελούν το μοναδικό ρητό τεκμήριο που συνδέει διακειμενικά το μυθιστόρημα με τον Όμηρο. Παρά το γεγονός ότι έχει ερευνηθεί η σχέση του μυθιστορήματος με το έπος και ειδικά με τον Όμηρο, οι εν λόγω…
Narratives ofamor,armaandarmenta in Ovid’sMetamorphoses
Ovid frequently organizes individual “narratives” on the basis of semantic relations (including etymology) that link together basic concepts and themes. This web of semantic relations creates a second level of text or subtext that deepens our understanding of the composition of the poem and adds meaning(s) to each particular narrative. One such subtext concerns the semantics of erotic violence or of “love” ( amor ) and “arms” ( arma ), the study …
Slaves and Masters in the Ancient Novel
Slavery is everywhere and nowhere in the ancient novel.While enslaved characters can play pivotal roles in the narrative, they frequently serve simply as foils to the noble protagonists.Moreover, although the elite heroes of the Greek novels are often enslaved, this is only ever a passing state: they later return to social prominence, while other slaves in the narrative are denied the same opportunities for social promotion and psychological subj…
I removed the mist that clouded your eyes: Supernatural vision from Homer to Sikelianos
Στη ραψωδία Ε της Ιλιάδας ο Διομήδης ζητά τη βοήθεια της Αθηνάς για να εντοπίσει και να σκοτώσει τον Πάνδαρο που τον λάβωσε. Η θεά τού κάνει ένα απρόσμενο δώρο: «Απομάκρυνα» του λέει «από τα μάτια σου την αχλύ, για να μπορείς να ξεχωρίζεις [στο πεδίο της μάχης] το θεό από το θνητό» (αχλυν δ' αύ τοι απ' όφθαλμών έλον η πριν έπήεν, οφρ' ευ γιγνώσκης ήμέν θεόν ήδέ και άνδρα). Χάρη στην ικανότητα που αποκτά ο ήρωας σκοτώνει τον Πάνδαρο και συγκρούετα…
From Pastoral to Panegyric in Calpurnius Siculus
Holy Men and Charlatans in the Ancient Novel
Ovidian Metamorphosis and Nonnian poikilon eidos
The Construction of the Real and the Ideal in the Ancient Novel
Readers and writers in the ancient novel
The Afterlife of Emperor Claudius in Seneca's Apocolocyntosis
Seneca's Apocolocyntosis , the earliest extant example of ancient Menippean satire, tells of Emperor Claudius' death and ascent to heaven, where his request for deification is rejected by the council of the gods, and his subsequent descent to the underworld, where he is condemned of mass murder of Roman noblemen. Claudius is not an observer of things in heaven and the underworld or a character involved in a quest for knowledge and truth, but a de…
Semina ignis: The Interplay of Science and Myth in the Song of Silenus
Semina Ignis:The Interplay of Science and Myth in the Song of Silenus Michael Paschalis 1. Introduction hinc lapides Pyrrhae iactos, Saturnia regna,Caucasiasque refert uolucris furtumque Promethei (Virg. Ecl. 6.41-42) The list of myths in Virgil's Eclogues 6.41-42 has intrigued critics since the time of Servius. The problem most commonly pointed out is its lack of chronological and logical order vis-à-vis the mainstream mythological tradition. Vi…
"Virgil's "Aeneid: Semantic Relations and Proper Names
Book 10
‘T ‘he opening ( ‘panditur ‘) of the Gates of Olympus reveals bitter dis sent in the council of the gods, which in the end (96 ff.) assumes storm like proportions. The situation recalls the opening of the gates of Troy and the dissent of the Trojans, and more closely the winds in Aeolus ‘ cavernous mountain. Olympus combines here Palace and Sky as well l\fountain (for the latter cf. I I 5). Olympus is in addition a high vantage-point, from where …
Dedication
Book 12
At the opening of Aeneid 12 Turnus is compared to a wounded lion in Punic fields ( ‘Poenorum ... in aruis ‘). He announces to Latinus his determination to fight Aeneas straight away; the king attempts to dissuade him but Turnus ‘ ‘uiolentia ‘ grows worse with Latinus ‘ attempt to heal the v1mund ( ‘aegrescitque medendo ‘). The Rutu]ian replies that he, too, is capable of inflicting bloody wounds ( ‘uulnere sanguis ‘) with his missiles ( ‘tela ...…
Title Pages
Book 2
Aeneas has been asked to narrate the ‘doli ‘ of the Greeks and the sufferings of his people (I. 753-6). The shuddering memories arouse unspeakable pain ( ‘dolorem ‘) in his soul, but he none the less begins by first mentioning the Horse [86pv], \\foch ,vas constructed ,with the ‘skill ‘ of ‘Pallas ‘ [86pv]. Aeneas ‘ ‘dolor ‘ is not the symptom of a physical wound, but he is none the less wounded, like Juno in the opening of Aeneid I. His ‘dolor ‘…
Book 5
‘When the Trojans depart from Carthage a black rain-cloud appears above their heads darkening the sky and the seas. Palinurus, standing on the lofty stern, blames ‘Neptunus ‘ for it;1 he tells Aeneas that it is impossible to reach Italy against the wind and suggests that they should make for Sicily, which should not be far away, if he remembers correctly as he retraces the stars which he had watched before ( ‘si modo rite memor seruata remetio as…
Abbreviations and Bibliographical Note
Conclusion
Subject Textual Criticism Collection: Oxford Scholarship Online
Book 3
When Aeneas arrives in Thrace he sets about founding a city ( ‘moenia ‘) on the curved shore ( ‘litore curuo ‘); in order to ensure the good will of his mother ( ‘Dionaeae matri ‘1) and the other gods for the task he has undertaken, he engages in the prescribed rites and the sacri fice of a bull. Nearby there is a ‘tumulus ‘, on top of which grow cornel bushes ( ‘cornea . . . uirgulta ‘) and myrtles with bristling, spear like shoots ( ‘densis has…
Book 6
Aeneas ‘ arrival in Italy is marked by a riding metaphor ( ‘classique immittit habenas ‘); the place where he lands is ‘Euboean Cumae ‘ ( ‘Euboicis Cumarum adlabitur oris ‘). Horse and Ox (Ev{3ota< /3ov ) interact in the Aeneid. The component of Ox marks Aeneas ‘ arrival in ‘Italia ‘ ( ‘Land of Oxen ‘) while the association of Ship-sailing with Horse-riding pursues the ‘Phorbas ‘ scene of Aeneid s. Aeneas appears as a rider (horse-tamer) only met…
Book 1
Juno spots the Trojans as they are hardly out of sight of Sicily and sailing joyfully ( ‘laeti ‘) towards Italy, their ancestral home. The joy of the Trojans revives Juno ‘s undying wound ( ‘aeternum ... uul nus ‘) and memories of her impotence to overcome her mortal enemies, which are vented in a monologue. The reader knows from the proem that Juno ‘s ‘dolor ‘ (9) and her memory (4) interrelate; and in 7. 286 ff. the goddess ‘s ‘dolor ‘ is speci…
Book 4
Aeneid 4 opens with a description of Dido ‘s love wound and her conversation with Anna, who persuades the queen to yield to her love for Aeneas. Dido ‘s wound has been caused by Aeneas ‘ looks and words, which have lodged fast in Dido ‘s ‘pectus ‘ [Cavity]. Sight and Speech function as pointed weapons; and ‘haerentinfixi ‘ suggests that the ‘point ‘ has remained in the wound, which cannot heal (cf. 69ff.). Main features of Dido ‘s wound are Fire …
Note On Structure and Conventions
Subject Textual Criticism Collection: Oxford Scholarship Online
Virgil's Aeneid: Semantic Relation and Proper Names
The capacity of proper names to condense concepts, descriptions, or short narratives can tell us a lot about the Aeneid. But names only 'suggest' or 'evoke' meaning, which can be elicited and/or understood properly only by viewing it in a reading of the epic as a whole. Virgil's epic reveals recurrent semantic patterns, which show that names are substituta ble semantic units. One way to elicit their meaning is by exploring the semantic environmen…
The Afterlife of Emperor Claudius in Seneca's Apocolocyntosis
Seneca's Apocolocyntosis , the earliest extant example of ancient Menippean satire, tells of Emperor Claudius' death and ascent to heaven, where his request for deification is rejected by the council of the gods, and his subsequent descent to the underworld, where he is condemned of mass murder of Roman noblemen. Claudius is not an observer of things in heaven and the underworld or a character involved in a quest for knowledge and truth, but a de…
"Names and Death in Horace's "Odes
Virgil and the Delphic Oracle
Two Horatian Reminiscences in the Proem of Lucan
I removed the mist that clouded your eyes: Supernatural vision from Homer to Sikelianos
Στη ραψωδία Ε της Ιλιάδας ο Διομήδης ζητά τη βοήθεια της Αθηνάς για να εντοπίσει και να σκοτώσει τον Πάνδαρο που τον λάβωσε. Η θεά τού κάνει ένα απρόσμενο δώρο: «Απομάκρυνα» του λέει «από τα μάτια σου την αχλύ, για να μπορείς να ξεχωρίζεις [στο πεδίο της μάχης] το θεό από το θνητό» (αχλυν δ' αύ τοι απ' όφθαλμών έλον η πριν έπήεν, οφρ' ευ γιγνώσκης ήμέν θεόν ήδέ και άνδρα). Χάρη στην ικανότητα που αποκτά ο ήρωας σκοτώνει τον Πάνδαρο και συγκρούετα…
Two Horatian Reminiscences in the Proem of Lucan
Virgil and the Delphic Oracle
The Bull and the Horse: Animal Theme and Imagery in Seneca's Phaedra
The theme and imagery in Seneca's Phaedra have received much attention in recent years.' The bull from the sea is an essential element of the myth of Hippolytus in all its versions. Seneca expanded what stood firmly in the literary tradition by linking it with other mythical bulls which could be incorporated into the thematic texture of the play: the Cretan bull, object of Pasiphae's love; the Minotaur, their monstrous offspring. These he exploit…
"Names and Death in Horace's "Odes
Book 10
‘T ‘he opening ( ‘panditur ‘) of the Gates of Olympus reveals bitter dis sent in the council of the gods, which in the end (96 ff.) assumes storm like proportions. The situation recalls the opening of the gates of Troy and the dissent of the Trojans, and more closely the winds in Aeolus ‘ cavernous mountain. Olympus combines here Palace and Sky as well l\fountain (for the latter cf. I I 5). Olympus is in addition a high vantage-point, from where …
Dedication
Book 12
At the opening of Aeneid 12 Turnus is compared to a wounded lion in Punic fields ( ‘Poenorum ... in aruis ‘). He announces to Latinus his determination to fight Aeneas straight away; the king attempts to dissuade him but Turnus ‘ ‘uiolentia ‘ grows worse with Latinus ‘ attempt to heal the v1mund ( ‘aegrescitque medendo ‘). The Rutu]ian replies that he, too, is capable of inflicting bloody wounds ( ‘uulnere sanguis ‘) with his missiles ( ‘tela ...…
Title Pages
Book 2
Aeneas has been asked to narrate the ‘doli ‘ of the Greeks and the sufferings of his people (I. 753-6). The shuddering memories arouse unspeakable pain ( ‘dolorem ‘) in his soul, but he none the less begins by first mentioning the Horse [86pv], \\foch ,vas constructed ,with the ‘skill ‘ of ‘Pallas ‘ [86pv]. Aeneas ‘ ‘dolor ‘ is not the symptom of a physical wound, but he is none the less wounded, like Juno in the opening of Aeneid I. His ‘dolor ‘…
Book 5
‘When the Trojans depart from Carthage a black rain-cloud appears above their heads darkening the sky and the seas. Palinurus, standing on the lofty stern, blames ‘Neptunus ‘ for it;1 he tells Aeneas that it is impossible to reach Italy against the wind and suggests that they should make for Sicily, which should not be far away, if he remembers correctly as he retraces the stars which he had watched before ( ‘si modo rite memor seruata remetio as…
Abbreviations and Bibliographical Note
Conclusion
Subject Textual Criticism Collection: Oxford Scholarship Online
Book 3
When Aeneas arrives in Thrace he sets about founding a city ( ‘moenia ‘) on the curved shore ( ‘litore curuo ‘); in order to ensure the good will of his mother ( ‘Dionaeae matri ‘1) and the other gods for the task he has undertaken, he engages in the prescribed rites and the sacri fice of a bull. Nearby there is a ‘tumulus ‘, on top of which grow cornel bushes ( ‘cornea . . . uirgulta ‘) and myrtles with bristling, spear like shoots ( ‘densis has…
Book 6
Aeneas ‘ arrival in Italy is marked by a riding metaphor ( ‘classique immittit habenas ‘); the place where he lands is ‘Euboean Cumae ‘ ( ‘Euboicis Cumarum adlabitur oris ‘). Horse and Ox (Ev{3ota< /3ov ) interact in the Aeneid. The component of Ox marks Aeneas ‘ arrival in ‘Italia ‘ ( ‘Land of Oxen ‘) while the association of Ship-sailing with Horse-riding pursues the ‘Phorbas ‘ scene of Aeneid s. Aeneas appears as a rider (horse-tamer) only met…
Book 1
Juno spots the Trojans as they are hardly out of sight of Sicily and sailing joyfully ( ‘laeti ‘) towards Italy, their ancestral home. The joy of the Trojans revives Juno ‘s undying wound ( ‘aeternum ... uul nus ‘) and memories of her impotence to overcome her mortal enemies, which are vented in a monologue. The reader knows from the proem that Juno ‘s ‘dolor ‘ (9) and her memory (4) interrelate; and in 7. 286 ff. the goddess ‘s ‘dolor ‘ is speci…
Book 4
Aeneid 4 opens with a description of Dido ‘s love wound and her conversation with Anna, who persuades the queen to yield to her love for Aeneas. Dido ‘s wound has been caused by Aeneas ‘ looks and words, which have lodged fast in Dido ‘s ‘pectus ‘ [Cavity]. Sight and Speech function as pointed weapons; and ‘haerentinfixi ‘ suggests that the ‘point ‘ has remained in the wound, which cannot heal (cf. 69ff.). Main features of Dido ‘s wound are Fire …
Note On Structure and Conventions
Subject Textual Criticism Collection: Oxford Scholarship Online
Book 11
Aeneas erects on a ‘tumulus ‘ a ‘tropaeum ‘ clothed ( ‘induit ‘) with I\llezentius ‘ arms and armour ( ‘exuuias ‘) and dedicates it to I\!Iars. In 10. 762ff. Orion-like Mezentius was seen brandishing a huge spear, the trunk of an ash-tree [86pv], and in 10. 833-6 he was seen washing his wound in the waters of the Tiber and leaning against a tree-trunk ( ‘arboris acclinis trunco ‘), whi]e his helmet was hanging from the boughs of the tree. Now the…
Book 8
At the opening of Aeneid 8 Turnus gives the signal for war from the top of the citadel with a rustic horn (curved and hollow), and then rouses his horses and brandishes his arms, \\l ‘ith these actions he stirs war-lust among the Latins. Notable is the abrupt transition from the horn-signal on the citadel to horses, and the bold metathesis of verbs in which horses are treated like arms. The abrupt transition origi nates from the close relation be…
Book 9
‘Saturnia Iuno ‘ sends Iris to Turnus who is seated in a valley; the goddess incites him to attack the Trojan camp. A valley is a depression of the earth situated between hills or mountains [Cavity]. The place is forested [Tree] and is sacred to ‘Pilumnus ‘, whose name evokes ‘pilum ‘ ( ‘spear ‘). Iris ‘ speech to Turnus, inciting him to attack the camp, is followed by her ‘arrowlike ‘ flight ( ‘secuit ... arcum ‘) back to heaven, which causes th…
Book 7
In 3. 384 ff. Helenus prophesied to Aeneas that before he could build his city in a ‘safe place ‘ ( ‘tuta ... terra ‘), he would have first to sail around ‘Trinacria ‘ [Circle] and then past the ‘inferni lacus ‘ and the island of Aeaean Circe ( ‘ Aeaeae insula Circae ‘). After Aeneas has returned to the Upperworld, he raises a ‘tumulus ‘ for the burial of his nurse Caieta, sails past the island of ‘Circe ‘, and reaches ‘Latium ‘. The landmarks ar…
Virgil's Aeneid: Semantic Relation and Proper Names
The capacity of proper names to condense concepts, descriptions, or short narratives can tell us a lot about the Aeneid. But names only 'suggest' or 'evoke' meaning, which can be elicited and/or understood properly only by viewing it in a reading of the epic as a whole. Virgil's epic reveals recurrent semantic patterns, which show that names are substituta ble semantic units. One way to elicit their meaning is by exploring the semantic environmen…
"Virgil's "Aeneid: Semantic Relations and Proper Names
Semina ignis: The Interplay of Science and Myth in the Song of Silenus
Semina Ignis:The Interplay of Science and Myth in the Song of Silenus Michael Paschalis 1. Introduction hinc lapides Pyrrhae iactos, Saturnia regna,Caucasiasque refert uolucris furtumque Promethei (Virg. Ecl. 6.41-42) The list of myths in Virgil's Eclogues 6.41-42 has intrigued critics since the time of Servius. The problem most commonly pointed out is its lack of chronological and logical order vis-à-vis the mainstream mythological tradition. Vi…
Readers and writers in the ancient novel
Art (27 works) · Classical Antiquity Studies (26 works) · History (19 works) · Literature (17 works) · Philosophy (14 works) · Computer Science (10 works) · Ancient history (9 works) · Historical, Religious, and Philosophical Studies (6 works) · Geography (5 works) · Philosophy (5 works)