The Farewell Sermon is also delivered.

Khalid ibn Walid, a Meccan general who has killed many Muslims, converts to Islam.

The film begins with Muhammad sending an invitation to accept Islam to the surrounding rulers: Heraclius, the Byzantine Emperor; Muqawqis, the Patriarch of Alexandria; Kisra, the Sasanian Emperor.

The international ensemble cast includes Anthony Quinn, Irene Papas, Michael Ansara, Johnny Sekka, Michael Forest, André Morell, Garrick Hagon, Damien Thomas, and Martin Benson.

The Message (Arabic: الرسالة, Ar-Risālah; originally known as Mohammad, Messenger of God) is a 1976 epic film directed and produced by Moustapha Akkad that chronicles the life and times of Muhammad, who is never directly depicted.[4]

Bahira (Arabic: بَحِيرَىٰ, Classical Syriac: ܒܚܝܪܐ) is the name in Islamic tradition of a Christian monk who is said to have foretold Muhammad's prophethood when they met while Muhammad was accompanying his uncle Abu Talib on a trading trip.[1][2] There are several versions of the story, with elements that contradict each other.[3] All accounts of Bahira and his meeting with Muhammad have been deemed fictitious by modern historians[4][5][6][7][8][9][10] as well as by some medieval Muslim scholars, such as al-Dhahabi.

The story ends with Muhammad's journey to Syria and encounter with Bahira.[7]

Addressing the associated controversies, Majidi said, "The film contains no controversies and no differences between the Shia and the Sunni points of view."[8]

In the beginning of the film, a message appears that states the film encompasses historical facts as well as free personal impressions about Muhammad. Accordingly, some of the film's events did not actually take place in real life, but are indeed similar to events in Muhammad's biography.[6] Majidi stated that the objective behind presenting these scenes is to show that the whole existence could feel Muhammad's presence as well as his mercy.

By the order of Abraha, King of Habasha, one of his army commanders launches an attack on Mecca in order to destroy the Kaaba. He leads a well-equipped force of thousands of soldiers, horses and elephants. As the army approaches Mecca, the elephants respond to divine order by halting and refusing to continue. Millions of small birds then release a hail of stones onto Abraha's forces and the army is annihilated. A month later, Muhammad is born. The film depicts pre-Islamic Arabia as seen through the eyes of Muhammad from birth to the age of 13.[1]

The film marks the highest-budget production in Iranian cinema to date.[3]

Muhammad: The Messenger of God (Persian: محمد رسول‌الله, romanized: Mohammad Rasulollah) is a 2015 Iranian Islamic epic film directed by Majid Majidi and co-written with Kambuzia Partovi. Set in the sixth century, the plot revolves around the childhood of the Islamic prophet Muhammad.

The common swift (Apus apus) is a medium-sized bird, superficially similar to the barn swallow or house martin but somewhat larger, though not stemming from those passerine species, being in the order Apodiformes. The resemblances between the groups are due to convergent evolution, reflecting similar contextual development. The swifts' nearest relatives are the New World hummingbirds and the Southeast Asian treeswifts.

Narrated An-Nu`man bin Bashir:Allah's Messenger (ﷺ) said, "You see the believers as regards their being merciful among themselves and showing love among themselves and being kind, resembling one body, so that, if any part of the body is not well then the whole body shares the sleeplessness (insomnia) and fever with it." حَدَّثَنَا أَبُو نُعَيْمٍ، حَدَّثَنَا زَكَرِيَّاءُ، عَنْ عَامِرٍ، قَالَ سَمِعْتُهُ يَقُولُ سَمِعْتُ النُّعْمَانَ بْنَ بَشِيرٍ، يَقُولُ قَالَ رَسُولُ اللَّهِ صلى الله عليه وسلم ‏ "‏ تَرَى الْمُؤْمِنِينَ فِي تَرَاحُمِهِمْ وَتَوَادِّهِمْ وَتَعَاطُفِهِمْ كَمَثَلِ الْجَسَدِ إِذَا اشْتَكَى عُضْوًا تَدَاعَى لَهُ سَائِرُ جَسَدِهِ بِالسَّهَرِ وَالْحُمَّى ‏"‏‏.‏ Reference : Sahih al-Bukhari 6011

The murder of Julius Caesar

21 Times F1 Was A Literal Meme

The Roots of Social Anxiety... ft. Dr. Ali Mattu

How To Not Be Awkward

Martijn Aslander - Kennis Delen is Macht

For 1955, Chrysler Corporation introduced an exciting new direction in automotive styling. They called it "The Forward Look"- a sleeker, sharper, jet-age inspired approach, far removed from anything else Detroit had yet put into showrooms. The Forward Look was the brainchild of Virgil Exner, Chrysler's VP of Design.

How a Collaborative Zettelkasten Might Work: A Modest Proposal for a New Kind of Collective Creativity

“There is a tide in the affairs of menWhich, taken at the flood, leads on to fortune;Omitted, all the voyage of their lifeIs bound in shallows and in miseries.On such a full sea are we now afloat;And we must take the current when it serves,Or lose our ventures.” ― William Shakespeare , Julius Caesar

palliative(of a medicine or form of medical care) relieving symptoms without dealing with the cause of the condition."palliative drugs"

Webpage Snapshots Zotero already saves webpage snapshots on news articles and other pages, and those now open automatically in the new reader as well, enabling you to annotate webpages as easily as PDFs.

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Gottfried Benn’s Ikarus is unmistakably a description of the Brueghel painting, “Landscape with the Fall of Icarus,” which is patiently described in the poem.

Heraclitus (“?? ????? ??? ??? ????? ?????,” goes a line attributed to him, “Everything flows, nothing stands still.”

I suspect Gottfried Benn, who approaches these things with the trained diagnostic eye of a doctor does. Who is the person speaking in his poem? Is it, as I imagine, the shepard with curiously Breughel-like features gazing heavenwards? In any event, the inner theme here is dislocation (daß ich hinrinne, a Hoffmansthal formulation; entstirnt), an individual losing consciousness of his Self and flowing into the all.

Literary interpretation has considered the myth of Icarus as a consequence of excessive ambition.[27] An Icarus-related study of the Daedalus myth was published by the French hellenist Françoise Frontisi-Ducroux.[28] In psychology, there have been synthetic studies of the Icarus complex with respect to the alleged relationship between fascination for fire, enuresis, high ambition, and Ascensionism.[29] The term Icarus complex is defined by NGHIALAGI.net as, "A form of overcompensation wherein an individual, due to feelings of inferiority, formulates grandiose aspirations for future achievement despite lacking proper talent, experience, and/or personal connections. Such a person often exhibits elitism fueled by hubris and detachment from social reality."[30] In the psychiatric mind, features of disease were perceived in the shape of the pendulous emotional ecstatic-high and depressive-low of bipolar disorder. Henry Murray having proposed the term Icarus complex, apparently found symptoms particularly in mania where a person is fond of heights, fascinated by both fire and water, narcissistic and observed with fantastical or far-fetched imaginary cognition.[31][32] Seth Godin's 2012 The Icarus Deception, points to the historical change in how Western culture both propagated and interpreted the Icarus myth arguing that "We tend to forget that Icarus was also warned not to fly too low, because seawater would ruin the lift in his wings. Flying too low is even more dangerous than flying too high, because it feels deceptively safe."[33] Each study and analysis of the myth agrees Icarus was too ambitious for his own good.

According to scholia on Euripides, Icarus thought himself greater than Helios, the Sun himself, and the god punished him by directing his powerful rays at him, melting the beeswax. Afterwards, it was Helios who named the Icarian Sea after Icarus.[10]

After Theseus, king of Athens and enemy of Minos, escaped from the labyrinth, King Minos suspected that Icarus and Daedalus had revealed the labyrinth's secrets and imprisoned them—either in a large tower overlooking the ocean or the labyrinth itself, depending upon the account.[1][2] Icarus and Daedalus escaped using wings Daedalus constructed from feathers, threads from blankets, clothes, and beeswax.[3] Daedalus warned Icarus first of complacency and then of hubris, instructing him to fly neither too low nor too high, lest the sea's dampness clog his wings or the sun's heat melt them.[3] Icarus ignored Daedalus's instructions not to fly too close to the sun, causing the beeswax in his wings to melt. Icarus fell from the sky, plunged into the sea, and drowned. The myth gave rise to the idiom, "fly too close to the sun." In some versions of the tale, Daedalus and Icarus escape by ship.[1][4]

In Greek mythology, Icarus (/ˈɪkərəs/; Ancient Greek: Ἴκαρος, romanized: Íkaros, .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}pronounced [ǐːkaros]) was the son of the master craftsman Daedalus, the architect of the labyrinth of Crete.

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Death in Venice (German: Der Tod in Venedig) is a novella by German author Thomas Mann, published in 1912.[1]

Ulysses moves through four emotional stages that are self-revelatory, not ironic: beginning with his rejection of the barren life to which he has returned in Ithaca, he then fondly recalls his heroic past, recognizes the validity of Telemachus' method of governing, and with these thoughts plans another journey.[9]

Culler himself views "Ulysses" as a dialectic in which the speaker weighs the virtues of a contemplative and an active approach to life;[8]

The ironic interpretations of "Ulysses" may be the result of the modern tendency to consider the narrator of a dramatic monologue as necessarily "unreliable".

Scholars disagree on how Ulysses' speech functions in this format; it is not necessarily clear to whom Ulysses is speaking, if anyone, and from what location. Some see the verse turning from a soliloquy to a public address, as Ulysses seems to speak to himself in the first movement, then to turn to an audience as he introduces his son, and then to relocate to the seashore where he addresses his mariners.[5]

Ulysses has returned to his kingdom, Ithaca, having made a long journey home after fighting in the Trojan War. Confronted again by domestic life, Ulysses expresses his lack of contentment, including his indifference toward the "savage race" (line 4) whom he governs. Ulysses contrasts his present restlessness with his heroic past, and contemplates his old age and eventual death

For much of this poem's history, readers viewed Ulysses as resolute and heroic, admiring him for his determination "To strive, to seek, to find, and not to yield".[1] The view that Tennyson intended a heroic character is supported by his statements about the poem, and by the events in his life—the death of his closest friend—that prompted him to write it. In the twentieth century, some new interpretations of "Ulysses" highlighted potential ironies in the poem. They argued, for example, that Ulysses wishes to selfishly abandon his kingdom and family, and they questioned more positive assessments of Ulysses' character by demonstrating how he resembles flawed protagonists in earlier literature.

Most critics, however, find that Tennyson's Ulysses recalls Dante's Ulisse in his Inferno (c. 1320).

Alfred, Lord Tennyson, author of "Ulysses", portrayed by George Frederic Watts "Ulysses" is a poem in blank verse by the Victorian poet Alfred, Lord Tennyson (1809–1892), written in 1833 and published in 1842 in his well-received second volume of poetry. An oft-quoted poem, it is a popular example of the dramatic monologue. Facing old age, mythical hero Ulysses describes his discontent and restlessness upon returning to his kingdom, Ithaca, after his far-ranging travels. Despite his reunion with his wife Penelope and his son Telemachus, Ulysses yearns to explore again.

iCloud Sync is not working. Make sure you have signed into iCloud with the same account on all devices. On iOS, go to Settings → [your name (the very top item)] → iCloud → iCloud Drive. On macOS, go to System Settings → [your name] → iCloud → iCloud Drive. Make sure iCloud Drive is on. On iOS, go to Settings → [your name] → iCloud → (Tap the “Show All” button to go to “Apps using iCloud”) → (Scroll down to find Anybox). On macOS, go to System Settings → [your name] → iCloud → Show More Apps…. Make sure Anybox is on. If the switch for iCloud Drive or Anybox is disabled, it means your device is managed by organization and iCloud is not allowed.

17 Year Old Millionaire EXPLAINS How He Escaped The Matrix | Maurits Tate

Odysseus has traditionally been viewed as Achilles' antithesis in the Iliad:[35] while Achilles' anger is all-consuming and of a self-destructive nature, Odysseus is frequently viewed as a man of the mean, a voice of reason, renowned for his self-restraint and diplomatic skills.

When Helen of Troy is abducted, Menelaus calls upon the other suitors to honour their oaths and help him to retrieve her, an attempt that leads to the Trojan War.

He is most famous for his nostos, or "homecoming", which took him ten eventful years after the decade-long Trojan War.

husband of Penelope

In Greek and Roman mythology, Odysseus (/əˈdɪsiəs/ ə-DISS-ee-əs;[1] Greek: Ὀδυσσεύς, Ὀδυσεύς, translit. Odysseús.mw-parser-output .noitalic{font-style:normal}, Odyseús, .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}IPA: [o.dy(s).sěu̯s]), also known by the Latin variant Ulysses (/juːˈlɪsiːz/ yoo-LISS-eez, UK also /ˈjuːlɪsiːz/ YOO-liss-eez; Latin: Ulysses, Ulixes), is a legendary Greek king of Ithaca and the hero of Homer's epic poem the Odyssey. Odysseus also plays a key role in Homer's Iliad and other works in that same epic cycle.[2]

Helen (Ancient Greek: Ἑλένη, romanized: Helénē[a]), also known as Helen of Troy,[2][3][b] in Latin as Helena,[4] beautiful Helen, Helen of Argos, or Helen of Sparta,[5] was a figure in Greek mythology said to have been the most beautiful woman in the world. She was believed to have been the daughter of Zeus and Leda, and was the sister of Clytemnestra, Castor and Pollux, Philonoe, Phoebe and Timandra. She was married to King Menelaus of Sparta "who became by her the father of Hermione, and, according to others, of Nicostratus also."[4] Her abduction by Paris of Troy was the most immediate cause of the Trojan War.

Enthusiasm – In enthusiasm – or possession – God is understood to be outside, other than or beyond the believer. A sacred power, being or will enters the body or mind of an individual and possesses it. A person capable of being possessed is sometimes called a medium. The deity, spirit or power uses such a person to communicate to the immanent world

Lewis argues that ecstasy and possession are basically one and the same experience, ecstasy being merely one form which possession may take. The outward manifestation of the phenomenon is the same in that shamans appear to be possessed by spirits, act as their mediums, and even though they claim to have mastery over them, can lose that mastery

Ecstasy, trance – In ecstasy the believer is understood to have a soul or spirit which can leave the body. In ecstasy the focus is on the soul leaving the body and to experience transcendental realities. This type of religious experience is characteristic for the shaman.

Skeptics may hold that religious experience is an evolved feature of the human brain amenable to normal scientific study.

Many religious and mystical traditions see religious experiences (particularly the knowledge which comes with them) as revelations caused by divine agency rather than ordinary natural processes. They are considered real encounters with God or gods, or real contact with higher-order realities of which humans are not ordinarily aware.[5

A religious experience (sometimes known as a spiritual experience, sacred experience, mystical experience) is a subjective experience which is interpreted within a religious framework.[1] The concept originated in the 19th century, as a defense against the growing rationalism of Western society.[2] William James popularised the concept.[2] In some religions, this may result in unverified personal gnosis.[3][4]

The Book of Hours was largely developed at the artist’s colony at Worpswede, but finished in Paris. It displays the turn towards mystical religiosity that was developing in the poet, in contrast to the naturalism popular at the time, after the religious inspiration he experienced in Russia. Soon thereafter, however, Rilke developed a highly practical approach to writing, encouraged by Rodin’s emphasis on objective observation. This rejuvenated inspiration resulted in a profound transformation of style, from the subjective and mystical incantations to his famous Ding-Gedichte, or thing-poems, that were published in the New Poems.

he combined subjective mysticism with precise observation of the objective world.

Rainer Maria Rilke (December 4, 1875–December 29, 1926)

Biography of Rainer Maria Rilke, Austrian Poet

The Miletus torso (c. 480–470 BC) at the Louvre has been suggested as the poem's subject. "Archaic Torso of Apollo" (German: Archaïscher Torso Apollos) is a sonnet by the Austrian writer Rainer Maria Rilke, published in the collection New Poems in 1908. It opens the collection's second part and is a companion piece to "Early Apollo", which opens the first part. The poem describes the impressions given by the surviving torso of an archaic statue, which for the poet creates a vision of what the intact statue must have been like.

The Miletus torso (c. 480–470 BC) at the Louvre has been suggested as the poem's subject.

I myself believe that learning is one of the, if not the, most important skills to master as it hasan exponential positive effect on every other aspect of your life. It is why formal educationshould do their best to teach students how to learn based on modern (cognitive) science.

The Black Swan and Education

Spleen et Idéal (Spleen and Ideal) Tableaux parisiens (Parisian Scenes) Le Vin (Wine) Fleurs du mal (Flowers of Evil) Révolte (Revolt) La Mort (Death)

Les Fleurs du mal (.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}French pronunciation: [le flœʁ dy mal]; English: The Flowers of Evil) is a volume of French poetry by Charles Baudelaire.

Dit spel van veraf en dichtbij speelt de Franse Rococoschilder Jean-Antoine Watteau (1684-1721) ook met de toeschouwer. Bij hem gaat het echter niet om het mythologische verhaal op zich. Zijn eiland is een metafoor in een allegorie op de liefde. We zien een paradijselijke scene waarin verliefde stelletjes alleen nog maar aandacht hebben voor elkaar

Een eiland kunnen we alleen bereiken over het water of door de lucht. We gaan van de ene wereld naar de ander waardoor we een gevoel van afstand ervaren, zelfs als we het al aan de overkant zien liggen. Dat is net als met de liefde: soms heel dichtbij, maar gevoelsmatig ver weg of zelfs onbereikbaar

Volgens een populaire legende was het de geboorteplaats van Afrodite.

Een pelgrimstocht naar het eiland Cythera

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Chris Aldrich on Cybernetic Communications

And, writing is the foundation of media. Everything you see online from posts to videos to advertisements start with writing. Media is where the attention is.

A business is the storefront of your value. It is the public display of yourself, your goals, and your values. Businesses are an extension of yourself.

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1. The Sylvan Historian refers to the way in which the urn tells the tale. “Sylvan” means, by definition, Inhabitant of forest: a person, animal or spirit that lives in a forest. This implies that the Sylvan historian, who is located and familiar with the woods, is best fit to tell the tale.

Philhellenism ("the love of Greek culture") was an intellectual movement prominent mostly at the turn of the 19th century.

"The Gods of Greece" ("Die Götter Griechenlandes") is a 1788 poem by the German writer Friedrich Schiller. It was first published in Wieland's Der Teutsche Merkur, with a second, shorter version (with much of its controversial content removed) published by Schiller himself in 1800. Schiller's poem proved influential in light of German Philhellenism and seems to have influenced later German thinkers' views on history, Paganism and myth, possibly including Georg Wilhelm Friedrich Hegel and Max Weber.

November 2023 First Friday Lecture: From Mythos to Logos

Iphigenia in Tauris (German: Iphigenie auf Tauris) is a reworking by Johann Wolfgang von Goethe of the ancient Greek tragedy Ἰφιγένεια ἐν Ταύροις (Iphigeneia en Taurois) by Euripides.

In Greek mythology, Iphigenia (/ɪfɪdʒɪˈnaɪ.ə/; Ancient Greek: Ἰφιγένεια, Iphigéneia, [iːpʰiɡéneː.a]) was a daughter of King Agamemnon and Queen Clytemnestra, and thus a princess of Mycenae.

Sturm und Drang (/ˌʃtʊərm ʊnt ˈdræŋ, - ˈdrɑːŋ/,[1] .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}German: [ˈʃtʊʁm ʔʊnt ˈdʁaŋ]; usually translated as "storm and stress"[2]) was a proto-Romantic movement in German literature and music that occurred between the late 1760s and early 1780s. Within the movement, individual subjectivity and, in particular, extremes of emotion were given free expression in reaction to the perceived constraints of rationalism imposed by the Enlightenment and associated aesthetic movements.

Prometheus is the creative and rebellious spirit which, rejected by God, angrily defies him and asserts itself; Ganymede is the boyish self which is adored and seduced by God. One is the lone defiant, the other the yielding acolyte. As the humanist poet, Goethe presents both identities as aspects or forms of the human condition.

Both belong to the period 1770–1775. Prometheus (1774)

"Prometheus" is a poem by Johann Wolfgang von Goethe, in which the character of the mythic Prometheus addresses God (as Zeus) in misotheist accusation and defiance. The poem was written between 1772 and 1774 and first published in 1789 after an anonymous and unauthorised publication in 1785 by Friedrich Heinrich Jacobi. It is an important work of the Sturm und Drang movement.

1,000 True Fans | Kevin Kelly | The Tim Ferriss Show

Dynastic cycle (traditional Chinese: 朝代循環; simplified Chinese: 朝代循环; pinyin: Cháodài Xúnhuán) is an important political theory in Chinese history. According to this theory, each dynasty of China rises to a political, cultural, and economic peak and then, because of moral corruption, declines, loses the Mandate of Heaven, and falls, only to be replaced by a new dynasty. The cycle then repeats under a surface pattern of repetitive motifs.[1]

BornGiovan Battista Vico(1668-06-23)23 June 1668Naples, Kingdom of NaplesDied23 January 1744(1744-01-23) (aged 75)Naples, Kingdom of Naples

Giambattista Vico (born Giovan Battista Vico /ˈviːkoʊ/; .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}Italian: [ˈviko]; 23 June 1668 – 23 January 1744) was an Italian philosopher, rhetorician, historian, and jurist during the Italian Enlightenment.

Bacchus was the Roman god of agriculture, wine and fertility, equivalent to the Greek god Dionysus.

What Obsidian gurus get wrong about Zettelkasten

” It comes to a climax in Nietzsche, who exposed the mythic foundations of Greek rationality and the Enlightenment. Beyond critique, Nietzsche “reinvented polemically the Greek gods Dionysus and Apollo to counter the Socratic scientific rationality that had come to dominate the world after the fifth century.” Like the German Romantics, Nietzsche insisted “only a culture bounded by myths could achieve unity and identity” and concluded “modern culture could be redeemed only if a new mythology could arise” (40-1).

Beginning in the 18th century, the relation of mythos and logos flipped into reverse. Not entirely: variants of traditional allegory persist all the way to the present. But among some thinkers – Vico, Herder, and Christian Gottlob Heyne – a different, historicist approach emerged. There were two key shifts. First, these writers claim that mythos has its own philosophical content, without being translated into logos. Second, the philosophical content of myth isn’t a universally valid, timeless logos, but is specific to the era when the myth was formulated. That is, these thinkers insisted on “the pluralization of forms of Logos” (40).

The use of use mythos to critique logos “became one of the central traditions of German philosophy since the nineteenth century.”

Throughout the centuries, the distinction always tilted in favor of logos. Reason could question myths; myths couldn’t challenge reason. Allegory was one of the main devices for rationalizing the irrational, but allegorists “never looked for traces of Mythos in their Logos, but only for traces of their Logos in the Mythos” (32). Allegorists assumed that myth-makers already grasped logos, and “cloaked the Logos in Mythos in order to protect it from the ignorant masses, or to guarantee that only a few elect would have access to it” (32). For advocates of logos, myth was merely accommodated logos. No truth can be told only in mythic terms. Truth is in reason, not in narrative. Allegorists had a problem: “even if the content of the Mythos always reveals itself in the allegorist’s hands to be nothing other than the Logos, none the less the conversion mechanisms which transform that Mythos into his Logos remain resolutely arbitrary and cannot themselves ever be successfully subsumed into the Logos” (33).

Chillingly, Nestle, writing in Stuttgart in 1940 and though no Nazi, argues that the great maturation from mythos to logos “seems to have been reserved from the Aryan peoples” (quoted p. 30).

William Nestle’s Vom Mythos zum Logos (1940) is the classical statement of this reading. On the opening page, Nestle claims mythos and logos are “the two poles between which man’s mental life oscillates. Mythic imagination and logical thought are opposites,” the former being “imagistic and involuntary,” rooted in the unconscious, while the latter is “conceptual and intentional, and analyzes and synthesizes by means of consciousness” (quoted in Glenn Most, “From Logos to Mythos,” in From Myth to Reason?, 27).

Many have summarized the intellectual history of Greece as an evolution from the mythos to logos.

From Myth to Reason

His main works, which appeared late in 1940 and 1944, are the aforementioned Vom Mythos zum Logos, die Selbstentfaltung des griechischen Denkens von Homer bis auf die Sophistik und Sokrates and Griechische Geistesgeschichte von Homer bis Lukian in ihrer Entfaltung vom mythischen zum rationalen Denken dargestellt, are the result of his Greek studies conducted over several decades.

Wilhelm Nestle (.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}German: [ˈnɛstlə]; 16 April 1865, Stuttgart, Kingdom of Württemberg – 18 April 1959, Stuttgart) was a German philologist and philosopher.[1]

Vom Mythos zum Logos. Die des griechischen Denkens Selbstentfaltung von Homer bis auf die Sophistik und Sokrates. (From Mythos to Logos: The Self-development of Greek Thought from Homer to the Sophistics and Socrates.) 1940. 2nd edition. 1942. Reprint. 1975, 1986.