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  1. The philosophy of the "Odyssey".Richard B. Rutherford - 1986 - Journal of Hellenic Studies 106:145-162.
    The ancient critics are well known—some might say notorious—for their readiness to read literature, and particularly Homer, through moral spectacles. Their interpretations of Homeric epic are philosophical, not only in the more limited sense that they identified specific doctrines in the speeches of Homer's characters, making the poet or his heroes spokesmen for the views of Plato or Epicurus, but also in a wider sense: the critics demand from Homer not merely entertainment but enlightenment on moral and religious questions, on (...)
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  • Horace, Odes_ 3.7: An Erotic _Odyssey?S. J. Harrison - 1988 - Classical Quarterly 38 (01):186-.
    Horace's Asterie ode has been somewhat neglected by critics. Fraenkel, uninterested in the erotic odes, fails to mention it, and others see it as merely counterbalancing the preceding six Roman Odes by its frivolity and light irony. However, it is one of Horace's most subtle and best-organized erotic odes, matching the more obvious conventions of Latin love-elegy with a romanticized Odyssey as an underlying framework.
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  • Horace, Odes_ 3.7: An Erotic _Odyssey?S. J. Harrison - 1988 - Classical Quarterly 38 (1):186-192.
    Horace's Asterie ode has been somewhat neglected by critics. Fraenkel, uninterested in the erotic odes, fails to mention it, and others see it as merely counterbalancing the preceding six Roman Odes by its frivolity and light irony. However, it is one of Horace's most subtle and best-organized erotic odes, matching the more obvious conventions of Latin love-elegy with a romanticized Odyssey as an underlying framework.
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  • Synagoga conversa: Honorius Augustodunensis, the Song of Songs, and Christianity's “Eschatological Jew”.Jeremy Cohen - 2004 - Speculum 79 (2):309-340.
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  • The League of Endarkenment: Hakim Bey and the Way of Disappearance into Nature.Ayesha Adamo - 2023 - Anthropology of Consciousness 34 (2):278-294.
    Among his later works, Peter Lamborn Wilson—known to many as Hakim Bey—began performing ritual art pieces in Upstate New York, which he referred to as acts of “Endarkenment.” This paper explores Endarkenment from the beginning of its organic growth in the fertile soil of The Temporary Autonomous Zone, to its blossoming as fully‐realized ritual art, nourished by Bey's intention of returning enchantment back to the land. Through parallels in the works of antiquity, Surrealism, Georges Bataille, Giordano Bruno, Djuna Barnes, and (...)
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