Computer-modeling specialists have reconstructed Troy’s citadel and lower city at the time of the Trojan War

. (Troia Projekt) [from Was There a Trojan War? by Manfred Korfmann http://www.archaeology.org/ 0405/etc/troy.html]

The lower city of Troy was protected by a ditch. [http://www.archaeology.org/ online/reviews/troy/index.html]

Radu Gyr The Return Of Ulysses (translated into English by Stefan Arteni) At table's head I sit with myrrh anointed, but long since am asleep under the walls of Troy. Feasters do laugh and filled my cup is always - you drink with the expired and hail the ghostly, I have remained under the sloping walls of Troy. I have remained under the sloping walls of Troy or deep in heavy seas with friends alive no longer; rams fat and oxen on the roasting spit are turning to no avail in scented charcoal fire. I have remained under the sloping walls of Troy or with the rowers on the sea still errant - returning home the way of ghosts returning of them who no more come along by stepping -. You touch me on the shoulders and the garments, persuaded now that back I’ve come; but I am only hundreds of sepulchres within this walking corpse amidst you all. You speak to me of temples and pilasters, of the new gods that in my tracks have grown… Let me then tell of my blue mates that perished left far at Troy under the heaps of ashes.

Oils aromatic with deep scent of flowers wash not away the staining blood of Troy, for yonder of all cleansing vessels, the precious dead I carry whitewash on my body. To honor me aoidoi will be called to banquet to praise my deeds like those of all the heroes; but only shadow mine the cup is raising, I have remained under the sloping walls of Troy. And when on the white breast of Penelópe the brow I lay in burning shelter, I do bleed still in struggle with the cyclops or wander on the seas where bones are resting. With lavishly unceasing and light kisses the gentle woman randomly caresses on chest and shoulders the deep wounds from battles, believing not too painful are their traces. But I am all an unseen wound still aching also are wounds these grieving, empty eyes… Is it the wife or are the dead who kiss me come home again from Troy’s huge piles of ashes? I am again on waves with pan flute players, with sword again I fight the disembodied. Away I slip from loving thighs’ embracement and back once more I go under the walls of Troy… I have remained under the sloping walls of Troy!

The Episodes:

Ulysses and Athena The Siege of Troy Battle for Troy Ulysses and Diomedes Steal the Horses of the Thracian King Rhesus Ulysses Steals the Palladium The Trojan Horse The Sack of Troy Telemachus and Nestor in Pylos The Ciconians The Lotus-eaters Polyphemus Aeolus The Laestrygonians Circe

Journey to the Underworld The Sirens Scylla and Charybdis The Cattle of Helios Calypso Poseidon Ulysses Hit by Storm Nausicaa The Bard of the Phaeacians Ulysses Disguised as a Beggar by Athena Euryclea Recognizes Ulysses Ulysses and Penelope Ulysses Fights with the Beggar The Bow - stringing Contest Ulysses Slays the Suitors

The term sacrifice, from the Latin sacrificium - sacer, "holy"; facere, "to make“ - means to make sacred and can also be understood as the act of sanctifying or consecrating an object; offering is used as a synonym, or as a more inclusive category of which sacrifice is a subdivision, and means the presentation of a gift; the word offering is from the Latin offerre, "to offer, present", and yields the noun oblate; the Latin operari, to perform, accomplish, evokes once again the idea of sacred action:

“…the images are grouped and regrouped, creating and erasing boundaries, in a centripetal process converging on a unique configuration of forces in a final ‘efficient-moment’ of sacrifice which reveals the underlying ‘common body of the norm’, the efficient centre of creative action, or ‘embodied-vision’. The image of sacrifice stands therefore for an activity of eternal return to the radical originating power through which the multiplicity of perspectives is engendered. It is the efficient centre of the discontinuities of space of perception and time, or the link between efficient acts and discontinuous acts. It is not a renunciation of action, but rather a renunciation of the limits of perspectives which interpretations attach to the structured subject-object sensorium.” Antonio De Nicolas, cited by Anthony Judge in his

Epistemological challenges: language from Global Strategies Project – Notes and Commentaries,
www.infinityfoundation.com/mandala/i_es/i_es_UIA_language_frameset.htm

The name Odysseus (Ulysses in Latin) means son of pain or man of suffering.

This artist’s book has been digitally created by Stefan Arteni. It is signed with the artist’s seal.

© 2007 Stefan Arteni & Myriam S.-P.de Arteni

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