This is a truly ground breaking analysis of Homer's Iliad. The author, a natural scientist, embarks on a journey through this eternal masterpiece employing an arsenal of conceptual tools from Anthropology (ethnology), Ethology, Psychoanalysis, Neuroscience, and Philosophy. A terrifying and at the same time tender look into the darkness of the male soul. Seldom has Homer emerged so majestic and insightful. A landmark in Homeric scholarship. The new concept of the male totem that this book creates is destined to provide insights into the pressing problems our world faces today, for example, conflict of Islam with western ideas, Sharia, and Jihad.

This is a truly ground breaking analysis of Homer's Iliad. The author, a natural scientist, embarks on a journey through this eternal masterpiece employing an arsenal of conceptual tools from Anthropology (ethnology), Ethology, Psychoanalysis, Neuroscience, and Philosophy. A terrifying and at the same time tender look into the darkness of the male soul. Seldom has Homer emerged so majestic and insightful. A landmark in Homeric scholarship.

The male totem has been energizing and guiding males, and civilization, through the ages; this has been the backbone of history. In our times, the male totem is riding majestically across all continents, staging the same act it staged in the Iliad and in klepht songs. It is alarming that while this majestic and horrific eternal torrent has been shaping civilization across the face of the earth, narrow-minded political science and sociological analyses proliferate in ignorance.

Seven short stories .A raw look into the tender and terrible deeds of men in relation to other men. By the author of "The Iliad - Twenty Centuries of Translation" and "The Iliad: The Male Totem". Previous editions of this book are in top libraries such as Harvard, Oxford, Princeton, Columbia, One night in late summer we sat in the square long past midnight drinking wine [...] We are going to hell. Immigrants, the pestilence of this place. They pick Greek names, Thanasis, Pavlos, Nikos, hell they are communists, they have no names, no papers, no God. We Greek are a dying race. There is a solution, what the Italians do. What do the Italians do? I interrupted. He jumped up in the zeibekiko stance, arms stretched out. He danced around me, over me, like a bird that is about to attack, yelling Where the hell do you come from professor, you don''t know what the Italians do! They fucking drown them out in the ocean. You don''t know, professor? and you say you are my friend! You say you love me! Bullshit! They drown the bastards. They drown them! They have no caffeneio in their country, no tavernas, they have no bread, they come here and boss us around! We are sheep, the lamb of God, he whispered. They drown the bastards! he yelled at the top of his voice, a manly voice, the helpless whimper of a child that is punished. He stuck his nose on my face. Now he was calm, his voice course, trembling. His large black eyes wet, pleading You do not know, palikari. You sa you love me, ha. Your a liar, you know nothing. Exhausted, he kept dancing and chanting, staggering in the empty square until he drifted out of sight in the narrow dark streets of the village. I sat in the square for a long time. Witness to a crucifixion. I went back home shattered, whispering I know Cuckoo my good friend, I know, I know. (The Poutanaki) Antar on his knees, now lifting his arms up to his ears, now kissing the wet earth, an apparition that the river had spewed, face red with mud, his huge hands fumbling the sky, lips, moving incessantly... la ilaha illallahu,la ilaha illallahu! The thundering voice of last night, now, humbled, grateful, a whimper. He moved slowly, exhausted, yet his face radiating in the tender milky light, peace. He had found Him. I knelt besides him, my shoulder touching his shoulder, instantly shrouded into Antar'' s prayer. I stayed there next to him for a long time. The sun slowly chased the mist, crossed the river, saw two men on their knees facing the caves on the side of Ahmetaga, singing.. (Antar of Ahmetaga) Now he held up a photo of a boy around five wearing a cap with bunny ears. I looked at him nodding, waiting for a comment, which never came. He was silent looking at the picture of the boy and then looking at me. His eyes got wet and tears run down his cheeks. I remained silent too. Now his body sank into the chair, as if paralyzed. We drank some more wine but he remained motionless looking down on the floor of the yard. Tell me about the children in the attic, he said. I did not reply. And a while later: And the puppies? he asked. His lips were drooping and his eyes were round, frozen. We drank more wine in silence. (Fotis) He turned aside again, his whole face contracted, his lips quivering, the snout of an animal trying to smell the dark; always did this when he came to the mill. Those moments the pain on his face was gone, this was an act of lovemaking...(Antar of Ahmetag)

The Iliad is about "klea andron", the glorious and terrible deeds of men in relation to other men, the raw content of the soul of man, but not of woman. It is a vast lagoon of dream fragments of the male unconscious, haunted with eternal shadows that compete, strut, fight, kill and rape, and above all seek the approval of other men. In this book, I have traced the history of the Iliad from papyrus, to parchment, to paper, to e-book. Next, I have looked critically into the first ten lines of Book 1 of the Iliad in the Latin, French, Greek (vernacular), and lastly English translations, beginning with the first translations of Hall, and Chapman. New translations of passages recovered from papyri and parchment, done by the present author, are included. Lastly, a theory of translation of poetry is attempted.

We still read Homer’s epic the Iliad two-and-one-half millennia since its emergence for the questions it poses and the answers it provides for our age, as viable today as they were in Homer’s own times. What is worth dying for? What is the meaning of honor and fame? What are the consequences of intense emotion and violence? What does recognition of one’s mortality teach? We also turn to Homer’s Iliad in the twenty-first century for the poet’s preoccupation with the essence of human life. His emphasis on human understanding of mortality, his celebration of the human mind, and his focus on human striving after consciousness and identity has led audiences to this epic generation after generation. This study is a book-by-book commentary on the epic’s 24 parts, meant to inform students new to the work. Endnotes clarify and elaborate on myths that Homer leaves unfinished, explain terms and phrases, and provide background information. The volume concludes with a general bibliography of work on the Iliad, in addition to bibliographies accompanying each book’s commentary.

This is a new reading of Heraclitus by a natural scientist who challenges the traditional view of Heraclitus as the philosopher of flux. A parallel analysis of Heraclitus and Parmenides removes the alleged enigmas and obscurity of their thought, and reveals groundbreaking epistemological thinking. Heraclitus' work is simply an epistemological essay, an essay on method in natural science.

An analysis of the poem of Parmenides from a natural science perspective shows that it is based on Heraclitus' book. Imagery, philosophy, and even words were borrowed from Heraclitus. The new picture that emerges warrants the conclusion that Parmenides paraphrased Heraclitus in verse.

A new translation of the ancient text leads to a groundbreaking interpretation of Parmenides. The Parmenidean "eon" does not refer to "Being" but to a formal language that must be used for a science of Physics. A milestone in Philosophy and Philosophy of Physics.

Hailed by Plato as the “Tenth Muse” of ancient Greek poetry, Sappho is inarguably antiquity’s greatest lyric poet. Born over 2,600 years ago on the Greek island of Lesbos, and writing amorously of women and men alike, she is the namesake lesbian. What’s left of her writing, and what we know of her, is fragmentary. Shrouded in mystery, she is nonetheless repeatedly translated and discussed – no, appropriated – by all. Sappho has most recently undergone a variety of treatments by agenda-driven scholars and so-called poet-translators with little or no knowledge of Greek. Classicist-translator Jeffrey Duban debunks the postmodernist scholarship by which Sappho is interpreted today and offers translations reflecting the charm and elegant simplicity of the originals. Duban provides a reader-friendly overview of Sappho’s times and themes, exploring her eroticism and Greek homosexuality overall. He introduces us to Sappho’s highly cultured island home, to its lyre-accompanied musical legends, and to the fabled beauty of Lesbian women. Not least, he emphasizes the proximity of Lesbos to Troy, making the translation and enjoyment of Homer’s Iliad and Odyssey a further focus. More than anything else, argues Duban, it is free verse and its rampant legacy – and no two persons more than Walt Whitman and Ezra Pound – that bear responsibility for the ruin of today’s classics in translation, to say nothing of poetry in the twentieth century. Beyond matters of reflection for classicists, Duban provides a far-ranging beginner’s guide to classical literature, with forays into Spenser and Milton, and into the colonial impulse of Virgil, Spenser, and the West at large.