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Hum10 Final Exam
| Question | Answer |
|---|---|
| The Odyssey | Epic poem by Homer. Written in Ionia between 725–675 BCE. |
| Medea | Tragedy by Euripides. Written in Athens in 431 BCE. |
| The Symposium | Dialogue by Plato. Written in Athens around 385 BCE. |
| The Inferno | First part of the epic poem Divine Comedy by Dante Alighieri. Written in Florence 1308-1321. |
| The Tragedy of Hamlet, Prince of Denmark | Tragedy by William Shakespeare. Written 1599-1601. First quarto published in London 1603. |
| Letters on the Aesthetic Education of Man | Letters by Friedrich Schiller. Written in Weimar in 1794. |
| Frankenstein; or, The Modern Prometheus | Novel by Mary Shelley. Written in Bath; published in 1818. |
| The Communist Manifesto | Political pamphlet by Karl Marx and Friedrich Engels commissioned by the Communist League. Published in London in 1848. |
| The Trial | Novel by Franz Kafka. Written in 1914-1915 and published posthumously in 1925 in Berlin. |
| Criteria of Negro Art | Essay by W.E.B. DuBois. Delivered in Chicago in 1926. |
| Art or Propaganda? | Essay by Alain Locke. Published in Harlem in 1928. |
| Beloved | Novel by Toni Morrison. Published in 1987 in New York. |
| Omeros | Epic poem by Derek Walcott. Written in Boston in 1990. |
| Nostos | Homecoming (Odyssey) |
| Nostalgia | Pain associated with the desire to return home (Odyssey) |
| Oral tradition | Poetry that was in its earliest phases not read but committed to memory and sung. By the fifth century BCE, the Homeric poems were recited, not sung, by specialized performers of epic poetry called "rhapsodes." (Odyssey) |
| Homeric Question | The doubts and consequent debate over the identity of Homer, the authorship of the Iliad and Odyssey, and their historicity (especially concerning the Iliad) (Odyssey) |
| Formulas | Tools that allow a performer to narrate a long poem without having to memorize a fixed text and without having to worry about how to fit their words together in the correct way. Used even when contextually and metrically inappropriate. (Odyssey) |
| Complementarity | The Odyssey and Iliad focus on different themes, project different values, promote different views of human action / responsibility for action, and offer different views of heroism, because the two poems evolved side-by-side in an oral tradition (Odyssey) |
| Monro's Law | The Odyssey never refers to events narrated in the Iliad, despite the fact that it repeatedly refers to events of the Trojan War (Odyssey) |
| Biē | Brute force. Achilles is the hero of biē, and the Iliad is a “poem of force.” (Odyssey) |
| Mētis | Cunning intelligence. Odysseus is the hero of mētis; he is a representative of a type that folklorists refer to as the "Trickster." The most memorable demonstration of Odysseus’s mētis is his encounter with the cyclops Polyphemus. (Odyssey) |
| Outis | Ou ‘not’ + tis ‘anybody’: thus, “No one, nobody." Odysseus replaces his own name, substituting for it a non-name, a non-identity to trick Polyphemus (Odyssey) |
| Analepsis | A narrative device by which a prior event is narrated at a point in the story later than its position in the chronological sequence of events (Odyssey, Beloved, Omeros) |
| Polytropos | "Full of twists and turns," or, per Wilson, "complicated." An epithet for Odysseus, who is wily but also geographically twisting and turning. Also applies to the analeptic structure of the Odyssey (Odyssey) |
| Narrative discontinuity | Discontinuous, dislocated structure reflecting spatial and/or social dislocation (Odyssey, Beloved, Omeros) |
| Metoikos | Metic, resident alien (Medea) |
| Polis | Greek city-state (Medea) |
| Atheno-Peloponnesian War | An ancient Greek war fought between Athens and Sparta and their respective allies for the hegemony of the Greek world. The war remained undecided for a long time, until the decisive intervention of the Persian Empire in support of Sparta (Medea) |
| Attica | A historical region that encompasses the entire Athens metropolitan area, which consists of the city of Athens, the capital of Greece and the core city of the metropolitan area, as well as its surrounding suburban cities and town (Medea) |
| Archē kakōn | Archē = beginning, origin; first place or power, sovereignty; empire, realm; magistracy, office. "Beginning of troubles" (Medea) |
| Krisis | A frightening, high-stakes situation in which characters in a Greek tragedy bear more or less responsibility, and then must act. Implies a decision or choice. Also voting. (Medea, Beloved) |
| Chorus | A homogeneous group of performers, who comment with a collective voice on the action of the scene they appear in (Medea) |
| Dithyrambic | An ancient Greek hymn sung and danced in honor of Dionysus, the god of wine and fertility. Athenian competition involving then adult choruses and 10 boy choruses (Medea) |
| Tetralogy | Three tragedies and a satyr play (Medea) |
| Tragedy | A play in which the protagonist, usually a person of importance and outstanding personal qualities, falls to disaster through the combination of a personal failing and circumstances with which he or she cannot deal (Medea, Hamlet) |
| Satyr play | The satyr play can be considered the reversal of Attic tragedy, a kind of “joking tragedy.” The actors play mythical heroes engaged in action drawn from traditional mythical tales, but the chorus members are satyrs, guided by old Silenus. (Medea) |
| Choreutai | Choral performers (Medea) |
| Choregos | Chorus leader (Medea) |
| Astu | Urban center (Medea) |
| Skēnē | The structure at the back of a stage (Medea) |
| Bema | Speaker's platform (Medea) |
| Sundikos | Defendant's advocate (Medea) |
| Logos | Reasoned discourse; the argument (Medea, Symposium) |
| Pragma | Case (Medea) |
| Hubrizomai | Outraged (Medea) |
| Hamilla logōn | Contest of words (Medea) |
| Margaret Garner | Enslaved woman who escaped and murdered her child (Medea, Beloved) |
| Oligarchic government | The rule of a few men, as preferred by Sparta (Symposium) |
| Democratic government | Rule by the demos, or people, as seen in Athens (Symposium) |
| Golden Age of Athens | Period of Athenian cultural flourishing in the 5th century BCE, including advancements in architecture, drama, philosophy, and medicine (Medea, Symposium) |
| Thirty Tyrants | Violently repressive oligarchical regime imposed in Athens by Sparta after the Peloponnesian War, overthrown in 403 BCE (Symposium) |
| Pre-Socratic Philosophers | Thales, Anaximander, Anaximenes, Heraclitus, Parmenides, Pythagoras, and others. Sought a unifying and systematic principle of nature that governs the changes therein: water (Thales), air (Anaximenes), flux (Heraclitus), math (Pythagoras). (Symposium) |
| Sophists | Protagoras, Gorgias, Hippias, Antiphon, Prodicus and others. Roam offering to teach (for a fee!) people how to how to gain the virtues of courage and strength required for war. Many of Plato’s dialogues feature sophists as interlocutors. (Symposium) |
| Symposium | A drinking party. There is usually some food (to lay down a base for the wine) and entertainment (usually erotic and musical entertainment) (Symposium) |
| Festival of the Great Dionysia | A dramatic festival that featured competitions in both tragedy and comedy. (Medea, Symposium) |
| Eros | The god of love. An expression of the soul’s deepest longing for intellectual understanding and wanting to possess the Good forever, according to Diotima. (Symposium) |
| Peace of Nicias | A truce between Athens and Sparta after the first phase of the Peloponnesian War (Symposium) |
| Sicilian Expedition | A reckless Athenian invasion of Sicily that resulted in the destruction of Athens’s navy and thus set the stage for the city’s defeat by Sparta. Alcibiades was one of its loudest, most influential boosters, and one of the elected generals (Symposium) |
| Erastēs | The older lover, understood to be motivated by erotic desire and to seek sexual gratification. Provided the eromenos with intellectual and moral education, and entry into a valuable social network. (Symposium) |
| Eromenos | The younger beloved, expected not to be motivated by erotic desire or to seek sexual gratification. (Symposium) |
| Common/vulgar/pandemic eros | Love focused on sexual gratification (Symposium) |
| “Heavenly” erōs | Love focused on young men capable of being moral / intellectual partners. (Symposium) |
| To Agathon/the Good/To Kalon/the Beautiful | The highest metaphysical entity in Plato's philosophical system. Every particular instance of goodness or beauty is a reflection or imitation of the “Form” of the Good. (Symposium/Letters on Aesthetic Education/Criteria of Negro Art) |
| Socratic/Dialectical Method | A form of argumentative dialogue between individuals, based on asking and answering question (Symposium) |
| Giving birth in beauty | A manifestation of Eros's desire for immortality through the reproduction/sharing of ideas. Reproduction is the only mechanism available to mortals for achieving immortality. (Symposium) |
| Philosophos | Lover of wisdom. Love is a philosophos, in between being wise and being ignorant, just like Socrates. Eros is therefore a philosopher, and philosophy is the highest form of love (Symposium) |
| Diotima's Ladder of Love | Beauty of a single body-->beauty of all bodies-->the soul (Phaedrus)-->customs and laws (the soul's activities) (Pausanias)-->forms of knowledge (epistemai) (Eryximachus)-->knowledge of the beautiful-->the Form of Beauty (Symposium) |
| Dialogue | An attempt to capture the Socratic/dialectical method, and to encourage the reader to ask questions. Dialogue also leaves room for interpretation: the work of interpretation is a substitute for the question-and-answer of real dialogue. (Symposium) |
| Meletē | Practice, repetition. Akin to Diotima's reproduction and at risk of being lost with the institution of writing (Symposium) |
| Guelphs | Merchants and burghers. White Guelphs wanted to limit the Pope's power; Black Guelphs did not. When Dante, a White Guelph, traveled to Rome for a political meeting, the Black Guelphs took over Florence and conspired with the pope to exile Dante (Inferno) |
| Ghibellines | Noblemen who supported the Holy Roman Emperor (Inferno) |
| Hendecasyllabic | The standard poetic line in Italian (Inferno) |
| Caesura | A break in the middle of the line (Inferno, Omeros) |
| Terza rima | A rhyming verse form, in which the poem consists of tercets with an interlocking three-line rhyme scheme: the last word of the second line in one tercet provides the rhyme for the first and third lines in the tercet that follows (Inferno, Omeros) |
| Solecism | A grammatical mistake, as in the first tercet of the Inferno with I/our (Inferno) |
| Polysemous | Having more than one meaning, e.g. literal (the state of souls after death) and moral/allegorical (man, in the exercise of his free will, earning or becoming liable to the rewards or punishments of justice) (Inferno) |
| Letter/literal sense | Teaches what happened, things done/the everyday meaning (Medea, Inferno, Omeros) |
| Moral/ethical sense | What you should do/educational lessons/imitatio Christi (Medea, Inferno) |
| Allegorical sense | Teaches what you should believe/abstract, intellectual, conceptual (Symposium, Inferno, Omeros) |
| Anagogic sense | Where you might be going/the deepest mysteries of the afterlife/where you are going (Inferno) |
| Ontological | Relating to the nature of being, i.e. What is love? What is beauty? What is art? (Symposium, Letters on Aesthetic Education, Criteria of Negro Art, Art or Propaganda?) |
| Beauty | To Kalon, the highest metaphysical form in Platonic philosophy (Symposium); living form (Letters on Aesthetic Education); inseparable from Truth and Right (Criteria of Negro Art) |
| Sensuous drive | Proceeds from the physical existence of man and situates the human within time and so within change. Is concerned with self-preservation and results in lawlessness. (Letters on Aesthetic Education) |
| Formal drive | Proceeds from the absolute existence of man and affirms the person as constant throughout change, insisting on truth and on right. Is concerned with dignity and results in abstract principles. (Letters on Aesthetic Education) |
| Phenomenological | Objectivity and reality as subjectively lived and experienced, i.e. What is erotic experience? What is aesthetic experience? What is the experience of Black artists? (Symposium; Letters on Aesthetic Education; Criteria of Negro Art; Art or Propaganda?) |
| Aesthetic state | An equanimity and freedom of the spirit, combined with power and vigor, induced by consuming art (Letters on Aesthetic Education) |
| Relational | Concerning the way in which two or more concepts are connected, i.e. Eros and virtue; beauty and freedom; art and propaganda (Symposium; Letters, Criteria; Art or Propaganda?) |
| Semblance | The outward appearance or apparent form of something (Hamlet; Letters on Aesthetic Education) |
| Aisthesis | Sensory perception (Letters on Aesthetic Education) |
| Aesthetics | Domain of beauty, sublimity, art (Letters on Aesthetic Education, Criteria of Negro Art, Art or Propaganda?) |
| Empirical beauty | What people call beautiful (Letters on Aesthetic Education) |
| Normative beauty | Pure rational concept of beauty (Letters on Aesthetic Education) |
| Sensuo-rational | Human nature as governed by two drives: sensuous and rational (Letters on Aesthetic Education) |
| Play drive | A drive for irrational, unnecessary pleasure induced by aesthetic experience that balances the sensuous and rational drives (Letters on Aesthetic Education) |
| Three states of man | Natural state, aesthetic state, moral-political state (Letters on Aesthetic Education) |
| Monster | Originally, a mythical creature which is part animal and part human, or combines elements of two or more animal forms, and is frequently of great size and ferocious appearance. Later, more generally: any imaginary creature that is large, ugly, and frighte |
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katiesilverman
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