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Hades (Greek deity) --- Rich people --- Wealth --- Poor

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Homer and the Poetics of Hades offers a new and unique approach to the Iliad and, more particularly, the Odyssey through an exploration of the role and function of the Underworld as a poetic resource permitting an alternative perspective on the epic past. By portraying Hades as a realm where vision is not possible, Homer creates a unique poetic environment in which social constraints and divine prohibitions do not apply, resulting in anarrative which emulates that of the Muses but which at the same time is markedly distinct from it. In Hades experimentation with, and alteration of, important epic forms and values can be pursued with greater freedom, giving rise to a different kind of poetics: the 'poetics of Hades'.In the Iliad, Homer offers us a glimpse of how this alternative poetics works through the visit of Patroclus' shade in Achilles' dream. The recollection offered by the shade reveals an approach to its past in which regret, self-pity, and a lingering memory of intimate and emotional moments displace an objective tone and traditional exposition of heroic values. However, the potential of Hades for providing alternative means of commemorating the past is more fully explored in the 'Nekyia' of Odyssey 11: there, Odysseus' extraordinary ability to see the dead in Hades allows him to meet and interview the shades of heroines and heroes of the epic past, while the absolute confinement of Hades allows the shades to recount their stories from their own personal points of view. The poetic implications are significant, since by visiting Hades and listening to the stories of the shades Odysseus, and Homer with him, gain access to a tradition in which epic values associated with gender roles and even divine law are suspended in favour of a more immediate and personally inflected approach to the epic past. As readers, this alternative poetics offers us more than just a revised framework within which to navigate the Iliad and the Odyssey, inviting as it does a more nuanced understanding of the Greeks' anxieties around mortality and posthumous fame.

Epic poetry, Greek --- History and criticism. --- Homer --- Homer. --- Hades --- Criticism and interpretation. --- E-books --- Epic poetry, Greek. --- Unterwelt --- Hades, --- Homerus, --- Iliad (Homer). --- Odyssey (Homer).

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The idea of punishment after death-whereby the souls of the wicked are consigned to Hell (Gehenna, Gehinnom, or Jahannam)-emerged out of beliefs found across the Mediterranean, from ancient Egypt to Zoroastrian Persia, and became fundamental to the Abrahamic religions. Once Hell achieved doctrinal expression in the New Testament, the Talmud, and the Qur'an, thinkers began to question Hell's eternity, and to consider possible alternatives-hell's rivals. Some imagined outright escape, others periodic but temporary relief within the torments. One option, including Purgatory and, in the Eastern Orthodox tradition, the Middle State, was to consider the punishments to be temporary and purifying. Despite these moral and theological hesitations, the idea of Hell has remained a historical and theological force until the present.In Hell and Its Rivals, Alan E. Bernstein examines an array of sources from within and beyond the three Abrahamic faiths-including theology, chronicles, legal charters, edifying tales, and narratives of near-death experiences-to analyze the origins and evolution of belief in Hell. Key social institutions, including slavery, capital punishment, and monarchy, also affected the afterlife beliefs of Jews, Christians, and Muslims. Reflection on hell encouraged a stigmatization of "the other" that in turn emphasized the differences between these religions. Yet, despite these rivalries, each community proclaimed eternal punishment and answered related challenges to it in similar terms. For all that divided them, they agreed on the need for-and fact of-Hell.

Hell --- Endless punishment --- Eternal punishment --- Everlasting punishment --- Hades --- Sheol --- Future life --- Future punishment --- Damned --- Judaism --- History of doctrines --- Islam --- Christianity

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The imagery of Hell, the Christian account of the permanent destinations of the human soul after death, has fascinated people over the centuries since the emergence of the Christian faith. These landmark volumes provide the first large-scale investigation of this imagery found across the Byzantine and post-Byzantine world. Particular emphasis is placed on images from churches across Venetian Crete, which are comprehensively collected and published for the first time. Crete was at the centre of artistic production in the late Byzantine world and beyond and its imagery was highly influential on traditions in other regions. The Cretan examples accompany rich comparative material from the wider Mediterranean - Cappadocia, Macedonia, the Peloponnese and Cyprus. The large amount of data presented in this publication highlight Hell's emergence in monumental painting not as a concrete array of images, but as a diversified mirroring of social perceptions of sin.

Hell --- Byzantine antiquities. --- Hell in art. --- Christianity --- History of doctrines --- Antiquities, Byzantine --- Antiquities --- Christian antiquities --- Endless punishment --- Eternal punishment --- Everlasting punishment --- Hades --- Sheol --- Future life --- Future punishment --- Damned

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Rich people --- Wealth --- Poor --- Drama. --- Plutus --- Hades (Greek deity) --- Affluence --- Distribution of wealth --- Fortunes --- Riches --- Business --- Economics --- Finance --- Capital --- Money --- Property --- Well-being --- Affluent people --- High income people --- Rich --- Rich, The --- Wealthy people --- Social classes --- Economic conditions --- Hades (Greek deity) - Drama --- Rich people - Drama --- Wealth - Drama --- Poor - Drama