Introduction to the Ancient World: Greece

Lecture 6

Odysseus (Ulysses) and the Odyssey after Homer:
from Dante to O Brother Where Art Thou

I. Discussion (prompts) (cont'd from Lect. 5)

One more time: what to do about the gods? 
Does this work: Isabella Rossellini as Athena (The Odyssey, 1997) -
http://www.youtube.com/watch?v=c-7_8y-McLo (from 10:32 - 13:00)

Generally: the next Odyssey movie: plot structure and suggested cast

II. Different views of Odysseus and the Odyssey

  a. Dante and his world; Inferno (c. 1308-1321): Odysseus punished
               for excessive quest for knowledge

  b. Alfred Lord Tennyson (1809-1892): "Ulysses"
                no rest at Ithaca; on to new shores and more adventures;
                cf. the prophecy of Tiresias (Book 11.90ff.; Fitzgerald pp. 188-9)

  c. Constantine Cavafy (1863-1933): "Ithaca"
                life as an odyssey; journey is better than destination

III. O Brother - is this an Odyssey? - Discussion prompts                

1. Should the movie be titled "O Odysseus (a.k.a. Ulysses), Where Art Thou?" For
              where is he?  How much of an Odysseus is Ulysses Everett?
             And how much of an odyssey is an Odyssey? Roger Ebert, others on that subject.
             Overall, would you say that yes, O Brother can be considered a bonafide :) modern offspring of the Odyssey?
             Would you recast or add some scenes to make the connection with the Odyssey tighter?

2. Which brings us to the main issue: imitation and allusion to the Odyssey
        works in different ways here. It might be good to differentiate between
        different levels of association. Make a short list then, of the following:

       (a) scenes that follow those in the Odyssey closely and obviously,
        incl. those that turn an episode from the Odyssey on its head (mid-section in ART 1.102)
        (b) scenes and items/persons that do so more evocatively and elastically (right section)
        (c) more remote echoes (left section).

        3. One more perspective: the poems by Tennyson and Cavafy can be said to bring
        out a dimension that is already inherent in the character of Odysseus and the Odyssey.
        Should a contemporary cinematic adaptation strive for the same thing or is it
        enough to present a medley of themes that somehow add up to making the movie
        look like enough of a modern Odyssey? Or, one more take: when you try to adapt a classic
        to our times, you can't do it "straight" but need to be playful (cf. Disney Headquarters, Lect. 1).
        Do you agree?

Syllabus