2019 Njcl Certamen Novice Division Round One
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
Ovid Book 12.30110457.Pdf
METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Jerusalem Delivered by Torquato Tasso</H1>
Jerusalem Delivered by Torquato Tasso Jerusalem Delivered by Torquato Tasso Gerusalemme Liberata ("Jerusalem Delivered") by Torquato Tasso (1544-1595) Published 1581 in Parma, Italy. Translated by Edward Fairfax (1560-1635); translation first published in London, 1600. This electronic edition was edited, proofed, and prepared by Douglas B. Killings ([email protected]), November, 1995. ***************************************************************** FIRST BOOK page 1 / 730 THE ARGUMENT. God sends his angel to Tortosa down, Godfrey unites the Christian Peers and Knights; And all the Lords and Princes of renown Choose him their Duke, to rule the wares and fights. He mustereth all his host, whose number known, He sends them to the fort that Sion hights; The aged tyrant Juda's land that guides, In fear and trouble, to resist provides. I The sacred armies, and the godly knight, That the great sepulchre of Christ did free, I sing; much wrought his valor and foresight, And in that glorious war much suffered he; In vain 'gainst him did Hell oppose her might, In vain the Turks and Morians armed be: His soldiers wild, to brawls and mutinies prest, Reduced he to peace, so Heaven him blest. II O heavenly Muse, that not with fading bays Deckest thy brow by the Heliconian spring, But sittest crowned with stars' immortal rays In Heaven, where legions of bright angels sing; page 2 / 730 Inspire life in my wit, my thoughts upraise, My verse ennoble, and forgive the thing, If fictions light I mix with truth divine, And fill these lines with other praise than thine. III Thither thou know'st the world is best inclined Where luring Parnass most his sweet imparts, And truth conveyed in verse of gentle kind To read perhaps will move the dullest hearts: So we, if children young diseased we find, Anoint with sweets the vessel's foremost parts To make them taste the potions sharp we give; They drink deceived, and so deceived, they live. -
Listening the Unheeded: Women Appropriating and Re Telling Myths of Maddened Cassandra and Murderous Medea
180 Listening the Unheeded: Women Appropriating and Re telling Myths of Maddened Cassandra and Murderous Medea Shaweta Nanda One cannot help but notice the increasing engagement of contemporary or near contemporary women writers with Classical myths in their works. The first part of the paper explores the possible reasons behind this phenomenon. Myths are a fertile site in order to analyze the manner in which women have been perceived rather constructed and designed by patriarchy as silent, inferior, mad passive non entities, like Cassandra, or active monstrous creatures, like Medea, in the past. These myths are not dead but still continue to bind women in different guises thus, women writers explore how these mythic figures and stories have relevance for the present times too. The second part of the paper unravels the complex ways in which women writers engage with myths thereby propelling us to reconsider our conventional definitions and understanding of the term ‘myth’. Myths no longer seem sacrosanct as women writers become “resisting readers” (J. Fetterley) who seek to appropriate, revise and re tell/ re write these “grand” patriarchal narratives from the feminist/ ‘womanist’ points of view. In doing so they radically “novelize” the myths by making them “dialogic” in nature by inserting polyphonic voices and accounts that intend to disrupt the hierarchy of the Greek male narratives, including those of Homer and Aeschylus. Cassandra, daughter of the Trojan King Priam, had the gift of prophesy but was cursed by Apollo that no one would believe her once she refused to submit to him sexually. She was disbelieved, silenced, incarcerated, termed “mad,” raped by various agents of patriarchy as recounted in the several versions of the Greek myth, especially in Homeric and Aeschylus’s accounts. -
Atalanta and the Golden Apples
AAtalantatalanta aandnd tthehe GGoldenolden ApplesApples 10 Lesson Objectives Core Content Objectives Students will: Explain that the ancient Greeks worshipped many gods and goddesses Identify Mount Olympus as the place the ancient Greeks believed to be the home of the gods Identify Greek myths as a type of f ction Demonstrate familiarity with “Atalanta and the Golden Apples” Identify the elements of character, setting, plot, and supernatural beings and events in “Atalanta and the Golden Apples” Identify common characteristics of Greek myths (i.e., they try to explain mysteries of nature and humankind, include supernatural beings or events, give insight into the ancient Greek culture) Describe some of the many different types of mythical creatures and characters in Greek myths, such as Atlas, Pan, Cerberus, Pegasus, and centaurs Language Arts Objectives The following language arts objectives are addressed in this lesson. Objectives aligning with the Common Core State Standards are noted with the corresponding standard in parentheses. Refer to the Alignment Chart for additional standards addressed in all lessons in this domain. Students will: Recount information from “Atalanta and the Golden Apples,” a Greek myth, and determine the central message of the myth (RL.2.2) 136 Greek Myths 10 | Atalanta and the Golden Apples © 2013 Core Knowledge Foundation Describe how Atalanta and Hippomenes respond to challenges in “Atalanta and the Golden Apples” (RL.2.3) Describe the characters and plot of “Atalanta and the Golden Apples,” including -
Wulf: Libretto
WULF: LIBRETTO compiled by Vic Hoyland [Since most of this score uses modern English, it will be acceptable to perform this work using a translation in the country of performance, as well as using segments in the original French, Icelandic, Anglo‐Saxon, Latin, ancient Greek and Scottish Gaelic. Please contact UYMP to discuss any translation of the English text.] Iliad, chapter 18 (of 24): Patroclus, Achilles’ companion, is killed in battle. Achilles’ emotional reaction is extreme. His screams are heard by his mother, Thetis, from the depths of the sea. She calls on her nymphs (Nereids) to come to her son’s aid. “With these the bright cave was filled, and the nymphs all alike, beat their breasts, and Thetis led the lament.” The names of ancient Greek sea nymphs are recalled throughout the work. Part I – WULF 1. Glauke te Thaleia te Kymodoke te Nesaie Speio te Thoe Halia te Kymothoe te kai Actaee kai Limnoreia Kai Melite kai Iera kai Amphithoe kai Agave Doto te Proto te Pherusa Dynamene te Dexamene te Amphinome kai Kallineira Doris kai Panope kai te Galateia Nemertes te kai Apseudes kai Kallinassa Te Klymene Ianeira te kai Ianassa Maera kai Oreithyia te Amatheia.1 5. Protesilaus, Echepolus, Elephenor, Simoisius, Leukos, Democoon, Diores, Pirous, Phegeus, Idaeus, Odios, Phaestus, Scamandrius, Pherecles, Pedaeus, Hypsenor, Astynoos, Hyperion, Abas, Polyidos, Xanthus, Thoon, Echemmnon, Chromius, Pandarus, Deicoon.2 6. Sigmund took his weapons, but Skarphedinn waited the while. Skyolld turned against Grim and Helgʹ, and they fought violently. Sigmund had a helmet on his head and a shield at his side and was girt with a sword, his spear was in his hand; he turns against Skarphedinn, and thrusts at him with his spear, and the thrust struck the shield. -
Erysichthon Goes to Town
Erysichthon Goes to Town James Lasdun’s Modern American Re-telling of Ovid Pippa J. Ström A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Classical Studies Victoria University of Wellington 2010 ERYSICHTHON GOES TO TOWN by Pippa J. Ström ©2010 ABSTRACT The Erysichthon of Ovid’s Metamorphoses is given, in James Lasdun’s re-telling of the story, a repeat performance of chopping down a sacred tree, receiving the punishment of insatiable hunger, selling his daughter, and eating himself. Transgressive greed, impiety, and environmental destruction are elements appearing already amongst the Greek sources of this ancient myth, but Lasdun adds new weight to the environmental issues he brings out of the story, turning Erysichthon into a corrupt property developer. The modern American setting of “Erisychthon” lets the poem’s themes roam a long distance down the roads of self- improvement, consumption, and future-centredness, which contrast with Greek ideas about moderation, and perfection being located in the past. These themes lead us to the eternally unfulfilled American Dream. Backing up our ideas with other sources from or about America, we discover how well the Erysichthon myth fits some of the prevailing approaches to living in America, which seem to have stemmed from the idea that making the journey there would lead to a better life. We encounter not only the relationship between Ovid and Lasdun’s versions of the story, but between the earth and its human inhabitants, and find that some attitudes can be traced back a long way. -
ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck -
Why Are There Seven Sisters?
Why are there Seven Sisters? Ray P. Norris1,2 & Barnaby R. M. Norris3,4,5 1 Western Sydney University, Locked Bag 1797, Penrith South, NSW 1797, Australia 2 CSIRO Astronomy & Space Science, PO Box 76, Epping, NSW 1710, Australia 3 Sydney Institute for Astronomy, School of Physics, Physics Road, University of Sydney, NSW 2006, Australia 4 Sydney Astrophotonic Instrumentation Laboratories, Physics Road, University of Sydney, NSW 2006, Australia 5 AAO-USyd, School of Physics, University of Sydney, NSW 2006, Australia Abstract of six stars arranged symmetrically around a seventh, and is There are two puzzles surrounding the therefore probably symbolic rather than a literal picture of Pleiades, or Seven Sisters. First, why are the Pleiades. the mythological stories surrounding them, In Greek mythology, the Seven Sisters are named after typically involving seven young girls be- the Pleiades, who were the daughters of Atlas and Pleione. ing chased by a man associated with the Their father, Atlas, was forced to hold up the sky, and was constellation Orion, so similar in vastly sep- therefore unable to protect his daughters. But to save them arated cultures, such as the Australian Abo- from being raped by Orion the hunter, Zeus transformed them riginal cultures and Greek mythology? Sec- into stars. Orion was the son of Poseidon, the King of the sea, ond, why do most cultures call them “Seven and a Cretan princess. Orion first appears in ancient Greek Sisters" even though most people with good calendars (e.g. Planeaux , 2006), but by the late eighth to eyesight see only six stars? Here we show that both these puzzles may be explained by early seventh centuries BC, he is said to be making unwanted a combination of the great antiquity of the advances on the Pleiades (Hesiod, Works and Days, 618-623). -
Mecoptera: Meropeidae): Simply Dull Or Just Inscrutable?
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Center for Systematic Entomology, Gainesville, Insecta Mundi Florida 8-24-2007 Etymology of the earwigfly, Merope tuber Newman (Mecoptera: Meropeidae): Simply dull or just inscrutable? Louis A. Somma University of Florida, [email protected] James C. Dunford University of Florida, Gainesville, FL Follow this and additional works at: https://digitalcommons.unl.edu/insectamundi Part of the Entomology Commons Somma, Louis A. and Dunford, James C., "Etymology of the earwigfly, Merope tuber Newman (Mecoptera: Meropeidae): Simply dull or just inscrutable?" (2007). Insecta Mundi. 65. https://digitalcommons.unl.edu/insectamundi/65 This Article is brought to you for free and open access by the Center for Systematic Entomology, Gainesville, Florida at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Insecta Mundi by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. INSECTA MUNDI A Journal of World Insect Systematics 0013 Etymology of the earwigfly, Merope tuber Newman (Mecoptera: Meropeidae): Simply dull or just inscrutable? Louis A. Somma Department of Zoology PO Box 118525 University of Florida Gainesville, FL 32611-8525 [email protected] James C. Dunford Department of Entomology and Nematology PO Box 110620, IFAS University of Florida Gainesville, FL 32611-0620 [email protected] Date of Issue: August 24, 2007 CENTER FOR SYSTEMATIC ENTOMOLOGY, INC., Gainesville, FL Louis A. Somma and James C. Dunford Etymology of the earwigfly, Merope tuber Newman (Mecoptera: Meropeidae): Simply dull or just inscrutable? Insecta Mundi 0013: 1-5 Published in 2007 by Center for Systematic Entomology, Inc. P. O. Box 147100 Gainesville, FL 32604-7100 U.