Quiz V_HUM101

Quiz V_HUM101 - Quiz V(Iliad Troy the Singer of Tales&...

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Unformatted text preview: Quiz V (Iliad, Troy, the Singer of Tales & the Crucifixion of Intellectual Man) Humanities 101: Introduction to Western Civilization Mr. Vehse 1. During what century BCE did a social and economic crisis sweep the Mediterranean basin, decimating urban culture in many lands? 12th 2. By what historical name do we know the southern mainland of modern Greece with its associated islands? Peloponnes 3. This sea is a northern offshoot of the Mediterranean ocean; it lies between modern Greece and Turkey and gave its name to the second major early cultural contribution of western civilization. Aegean sea 4. Predating the Greeks, what group inhabited the southern mainland of Greece with its associated islands, bringing into existence an apparently aggressive and warlike but nevertheless settled, urban culture? Mycenaeans 5. Caught up in the broad social and economic disaster that swept the Mediterranean basin during the twelfth century BCE, what seems to have happened to the civilization of this people? 6. What may have contributed to the decline of the Mycenaean citystates between 1199 and 1100 BCE? 7. If this is true, as seems possible, where might one find indirect evidence in support of the suggestion? Illiad, Homeric tradition 8. What kind of poem is this work? War peom 9. By what designation do we refer to the Iliad and the Odyssey? Homeric tradion 10. To what genre or literary and artistic form do these works generally belong? Epics 11. As a rule, what kind of story lies in the background of the epic form? A hero and his quest 12. What role did the Iliad and the Odyssey play in the formation of early Classical Greek culture and civilization? 13. How were the works of the great Homeric Tradition in all likelihood composed? 14. For what purpose were they then performed? 15. True ancient Greek culture and civilization first came into existence around 800 BCE, between 300 and 500 years after the collapse of Mycenaean civilization. By what designation do we know these intervening centuries in which urban culture and most of the refinements of civilization vanished from the Peloponnesus? 16. To the Greeks who viewed it as the beginning of human time, what was the story of the Trojan War? 17. How are we to understand the relationship between the Trojan War and the story of the Iliad? Illiad is a backdrop of the Trojan war, and it's a part of it. 18. The Iliad is not the story of the Trojan War. Of what, then, is it the story? Story of the fall of troy and the struggle between achillies and agamemnon 19. With whom does Achilles bitterly argue at the beginning of the Iliad? The people 20. Over whom do they argue? His king 21. What two universal human social or political principles do the characters of Achilles and Agamemnon seem to represent in the Iliad? Power and merit 22. Scene 15 from the movie, Troya scene entitled, "the Spoils of War"would seem to be based on part of the Iliad. What part? 23. The makers of this film seem to have modeled certain traits of their characters on the characters with the same names in the Iliad. In Troy, as in the Iliad, what kind of king does Agamemnon seem to be? A bad leadership 24. Based on this scene, what kind of person does Achilles seem to be? Greatest warrior who has no authority 25. From the film, "the Singer of Tales," we learn that little of any certainty is known of Homer. Apparently, however, the name itself means something. What? hostage 26. What have modern archaeology and historical science revealed about the mythic Trojan War? It might be true 27. Evidence from the Iliad suggests that Homer knew physical features of Troy he could not have seen. He lived centuries later, and much of the site, had he visited, would have been buried. How, then, was this information passed down to Homer's day? Passed by generations 28. Michael Wood introduces us to an illiterate bard of the 20th century. This man told his tales, finally, to a tape recorder, since no one wished to carry on his work. Where did the modern bard, John Henry, live? Ireland 29. Wood illustrates the bard's art a second time at an actual public performance. Where else in the modern world does the ancient bardic oral tradition seemingly still live on? Turkey 30. Wood cites one section of the Iliad as evidence for the historical reality of the Trojan War. He then goes in search of cities and settlements named in this famous, though peculiar, section. What is it called? Kogles, kroglue 31. "To the Greek and Roman, for whom human history began with the fall of Troy, a previous span of four thousand years would scarcely have been comprehensible," writes Havelock. What kind of time do we now know that makes even millennia seem insignificant? 32. What, according to Havelock, has exposed Western humanity, "naked like worms," to its own cosmic insignificance? Find about the universe 33. "Who dare say that justice is any more eternal in the heavens" or that we "any more keep(s) company with angels?" asks Havelock. What kind of questions does he call these? New and terrible questions 34. According to Havelock, what did men and women of ancient times, such as those long ago in Egypt, seem like compared to our 20th and 21stcentury intelligence? 35. The new burden we bear, according to Havelock, is that "our relationship to time and space... crushes us by its reduction of our stature." To what does he compare the territory "on which we have a foothold," presumably the earth? A boulder on a mountainside 36. Havelock mentions a myth in the book of Genesis which expresses the "conflict within the civilized consciousness of man between his sense of intellectual power and his distrust and fear" of that power. What is that myth? 37. "The warmth and the richness of man's nature," writes Havelock, "demand that he live in the protection of certain illusions." What gives us this protection? 38. The powers of the presumptuous intellect of the West gather momentum, writes Havelock. It protests if forced to abdicate. Our science may kill us, he says, but what will it not allow us to do? To retreat 39. We do not know yet if there awaits us over the present cultural horizon "some new and larger shape of security," writes Havelock. What does he call this moral dilemma created by the modern scientific consciousness of the West? The burden of our age 40. If we try to "live in the wrong room" writes Havelock, "we shall cease to live and laugh and love with gusto and amiability." What will provide us with the tools, the "methods and perspectives," to build the right room? 41. "Far back in history," writes Havelock, humanity "framed a second myth," like the myth of the lost Eden. It, too, expressed the principle of human strength in a reluctant environment. What was this second myth? 42. A cunning god was responsible for the theft. How did this god conceal the fire stolen from heaven? 43. Who was the god? 44. There was danger in the fire, itself, but there was danger "also in the cunning" with which it was taken from heaven. Our nature and destiny is bound up with the possession and use of fire, but our reliance upon fire brings with it something else. What? 45. The perils of the gift of fire, according to Havelock, worked themselves out in a tragic conclusion at the end of a 20th century war. What was this "climactic combustion?" 46. Who, according to Havelock, foresaw long ago the future tragedy of "downcast and perplexed" technological humanity in our present day? 47. How, according to Havelock, does the author of the Prometheus Bound depict the "jealous punishment" to which the bringer of fire is subjected? 48. Fire in Prometheus Bound is no longer a mystery; it is an instrument of the applied sciences. Into what is the figure of the firestealer and firegiver changed in this version of the story? 49. "I am the huntsman of the mystery," says Promethus of himself in the play. He stands for "those selftaught processes which man has worked out by trial and error," according to Havelock. If so, what else does he stand for? 50. In Prometheus Bound, however, the teacher and thinker is crucified. Against intellectual power is raised up a reckless, dominating will that punishes. What kind of drama, then, would the development of scientific consciousness seem to be? ...
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