E P I G B a F H I C Bulletin F O R G R E E K Religion
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Naming the Extrasolar Planets
Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named. -
Reaching for Divinity the Role of Herakles in Relation to Dexiosis
Reaching for Divinity The role of Herakles in relation to dexiosis Florien Plasschaert Utrecht University RMA ANCIENT, MEDIEVAL, AND RENAISSANCE STUDIES thesis under the supervision of dr. R. Strootman | prof. L.V. Rutgers Cover Photo: Dexiosis relief of Antiochos I of Kommagene with Herakles at Arsameia on the Nymphaion. Photograph by Stefano Caneva, distributed under a CC-BY 2.0 license. 1 Reaching for Divinity The role of Herakles in relation to dexiosis Florien Plasschaert Utrecht 2017 2 Acknowledgements The completion of this master thesis would not have been possible were not it for the advice, input and support of several individuals. First of all, I owe a lot of gratitude to my supervisor Dr. Rolf Strootman, whose lectures not only inspired the subject for this thesis, but whose door was always open in case I needed advice or felt the need to discuss complex topics. With his incredible amount of knowledge on the Hellenistic Period provided me with valuable insights, yet always encouraged me to follow my own view on things. Over the course of this study, there were several people along the way who helped immensely by providing information, even if it was not yet published. Firstly, Prof. Dr. Miguel John Versluys, who was kind enough to send his forthcoming book on Nemrud Dagh, an important contribution to the information on Antiochos I of Kommagene. Secondly, Prof. Dr. Panagiotis Iossif who even managed to send several articles in the nick of time to help my thesis. Lastly, the National Numismatic Collection department of the Nederlandse Bank, to whom I own gratitude for sending several scans of Hellenistic coins. -
Goddess Euthenia • Euthenia Is Considered of Alexandrian Origin, Carrying Traits That Represent the Combination of the Egyptian Religion and the Roman Religion
ﺟﺎﻣﻌﺔ اﻟﻣﻧﯾﺎ ﻛﻠﯾﺔ اﻟﺳﯾﺎﺣﺔ واﻟﻔﻧﺎدق ﻗﺳم اﻻرﺷﺎد اﻟﺳﯾﺎﺣﻲ اﻟﻔرﻗﺔ اﻟﺛﺎﻟﺛﺔ ﻣﻘرر ارﺷﺎد ﺳﯾﺎﺣﻲ ﺗطﺑﯾﻘﻲ ٤ ﻛود اﻟﻣﻘرر: رس ٣٢٧ Selected pieces from the Graeco-Roman Museum in Alexandria Lecture 2: - Statue of Nilus - Statue of Euthenia د. ﻓرج ﻋﺑﯾد زﻛﻲ ﻣدرس اﻻرﺷﺎد اﻟﺳﯾﺎﺣﻲ ﺑﻛﻠﯾﺔ اﻟﺳﯾﺎﺣﺔ واﻟﻔﻧﺎدق - ﺟﺎﻣﻌﺔ اﻟﻣﻧﯾﺎ وﺳﯾﻠﺔ اﻟﺗواﺻل: [email protected] Selected Pieces from the Graeco- Roman Museum in Alexandria Statue of Nilus Identification card: Material: marble Date: Roman Period, 2nd cent. AD Place of Discovery: Alexandria, Sidi Bishr. The Nile god in ancient Egypt: There was no Nile god in the ancient Egyptian civilization, but there was a deification of the annual flooding; the god Hapy. The ancient Egyptian did not worship the Nile in its abstract form, but sanctified it for being the main source of prosperity and land fertility in the country. God Nilus In Greaeco-Roman Period: The Greeks and Romans on the other hand did worship rivers which they personified as aged deities representing them with full heads of long locks and flowing beards and mustaches, often depicted, as here, reclining. Several details allude to the role of the River Nile personified as Nilus, the source of bounty and prosperity. In the Graeco- Roman Period, Nilus became the Nile god The Nile Inundation in ancient Egypt and Graeco- Roman Period: The increase in the level of the Nile was measured by an arm (1 arm = 0.52 m). This was done by means of the Nilometers that spread throughout Egypt. The Nilometers were found in some important temples. The most famous Nilometers in Egypt were the one found at Elephantine Island, that at Edfu Temple, and the one at Serapium Temple in Alexandria. -
09 Ancient Coin Types, #9
Ancient Greek Coin Types Edward T. Newell Visual Education Committee Lecture Set #9 Fourth Period 336 BC-280 BC Period of Later Fine Art of Alexander & the Diadochi Alexander the Great Tetradrachm, 263 grs, Obv, Herakles with Lion Skin Rev. Zeus Aetophoros enthroned holding Scepter & Royal Eagle Fourth Period 336 BC-280 BC Period of Later Fine Art of Alexander & the Diadochi Alexander the Great Gold Di-stater, 266 grs, Obv, Head of Athena in Crested Corinthian Helmet//Winged Nike holding Mast with Spar Fourth Period 336 BC-280 BC Period of Later Fine Art of Alexander & the Diadochi Egypt, Alexander IV Tetradrachm, 262 grs, 323-311 BC, Obv, Alexander the Great, Elephant’s Scalp Headdress//Rev, Pallas Fighting, Eagle on Thunderbolt Fourth Period 336 BC-280 BC Period of Later Fine Art of Alexander & the Diadochi Egypt, Ptolemy I (Soter), 206 grs, 306-284 BC, Obv, Ptolemy Soter, Diademed wearing Aegis//Rev, Eagle on Thunderbolt, Inscription “Ptolemy Basileos” Fourth Period 336 BC-280 BC Period of Later Fine Art of Alexander & the Diadochi Africa, Carthago Tetradrachm, 262 grs, Obv, Head of Persephone, Dolphins in Field//Rev, Horse’s Head & Palm Tree, Inscription below reads, “Am Machanat” Fourth Period 336 BC-280 BC Period of Later Fine Art of Alexander & the Diadochi Macedonia, Lysimachos Tetradrachm, 265 grs, Obv, Head of Alexander, Deified, with Horn of Ammon//Rev, Pallas Nikephoros, Seated, Inscription reads, “Lysimachos Basileos” Fourth Period 336 BC-280 BC Period of Later Fine Art of Alexander & the Diadochi Cyrene Stater, 134 grs, Obv, -
Epigraphic Bulletin for Greek Religion 1996
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 12 | 1999 Varia Epigraphic Bulletin for Greek Religion 1996 Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou Electronic version URL: http://journals.openedition.org/kernos/724 DOI: 10.4000/kernos.724 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1999 Number of pages: 207-292 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou, « Epigraphic Bulletin for Greek Religion 1996 », Kernos [Online], 12 | 1999, Online since 13 April 2011, connection on 15 September 2020. URL : http://journals.openedition.org/kernos/724 Kernos Kemos, 12 (1999), p. 207-292. Epigtoaphic Bulletin for Greek Religion 1996 (EBGR 1996) The ninth issue of the BEGR contains only part of the epigraphie harvest of 1996; unforeseen circumstances have prevented me and my collaborators from covering all the publications of 1996, but we hope to close the gaps next year. We have also made several additions to previous issues. In the past years the BEGR had often summarized publications which were not primarily of epigraphie nature, thus tending to expand into an unavoidably incomplete bibliography of Greek religion. From this issue on we return to the original scope of this bulletin, whieh is to provide information on new epigraphie finds, new interpretations of inscriptions, epigraphieal corpora, and studies based p;imarily on the epigraphie material. Only if we focus on these types of books and articles, will we be able to present the newpublications without delays and, hopefully, without too many omissions. -
Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt. Jack M
Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt. Jack M. Ogden ABSTRACT This study deals with the gold jewellery made and worn in Egypt during the millennium between Alexander the Great's invasion of Egypt and the Arab conquest. Funerary jewellery is largely ignored as are ornaments in the traditional, older Egyptian styles. The work draws upon a wide variety of evidence, in particular the style, composition and construction of surviving jewellery, the many repre- sentations of jewellery in wear, such as funerary portraits, and the numerous literary references from the papyri and from Classical and early Christian writers. Egypt, during the period considered, has provided a greater wealth of such information than anywhere else in the ancient or medieval world and this allows a broadly based study of jewellery in a single ancient society. The individual chapters deal with a brief historical background; the information available from papyri and other literary sources; the sources, distribution, composition and value of gold; the origins and use of mineral and organic gem materials; the economic and social organisation of the goldsmiths' trade; and the individual jewellery types, their chronology, manufacture and significance. This last section is covered in four chapters which deal respectively with rings, earrings, necklets and pendants, and bracelets and armiets. These nine chapters are followed by a detailed bibliography and a list of the 511 illustrations. Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt. In two volumes Volume 1 - Text. Jack M. Ogden Ph.D. Thesis Universtity of Durham, Department of Oriental Studies. © 1990 The copyright of this thesis rests with the author. -
The World of Greek Religion and Mythology
Wissenschaftliche Untersuchungen zum Neuen Testament Herausgeber/Editor Jörg Frey (Zürich) Mitherausgeber/Associate Editors Markus Bockmuehl (Oxford) ∙ James A. Kelhoffer (Uppsala) Tobias Nicklas (Regensburg) ∙ Janet Spittler (Charlottesville, VA) J. Ross Wagner (Durham, NC) 433 Jan N. Bremmer The World of Greek Religion and Mythology Collected Essays II Mohr Siebeck Jan N. Bremmer, born 1944; Emeritus Professor of Religious Studies at the University of Groningen. orcid.org/0000-0001-8400-7143 ISBN 978-3-16-154451-4 / eISBN 978-3-16-158949-2 DOI 10.1628/978-3-16-158949-2 ISSN 0512-1604 / eISSN 2568-7476 (Wissenschaftliche Untersuchungen zum Neuen Testament) The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- graphie; detailed bibliographic data are available at http://dnb.dnb.de. © 2019 Mohr Siebeck Tübingen, Germany. www.mohrsiebeck.com This book may not be reproduced, in whole or in part, in any form (beyond that permitt- ed by copyright law) without the publisher’s written permission. This applies particular- ly to reproductions, translations and storage and processing in electronic systems. The book was typeset using Stempel Garamond typeface and printed on non-aging pa- per by Gulde Druck in Tübingen. It was bound by Buchbinderei Spinner in Ottersweier. Printed in Germany. in memoriam Walter Burkert (1931–2015) Albert Henrichs (1942–2017) Christiane Sourvinou-Inwood (1945–2007) Preface It is a pleasure for me to offer here the second volume of my Collected Essays, containing a sizable part of my writings on Greek religion and mythology.1 Greek religion is not a subject that has always held my interest and attention. -
Torresson Umn 0130E 21011.Pdf
The Curious Case of Erysichthon A Dissertation SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Elizabeth Torresson IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advisor: Nita Krevans December 2019 © Elizabeth Torresson 2019 Acknowledgments First, I would like to thank the department for their support and especially the members of my committee: Nita Krevans, Susanna Ferlito, Jackie Murray, Christopher Nappa, and Melissa Harl Sellew. The seeds of this dissertation were planted in my senior year of college when Jackie Murray spread to me with her contagious enthusiasm a love of Hellenistic poetry. Without her genuine concern for my success and her guidance in those early years, I would not be where I am today. I also owe a shout-out to my undergraduate professors, especially Robin Mitchell-Boyask and Daniel Tompkins, who inspired my love of Classics. At the University of Minnesota, Nita Krevans took me under her wing and offered both emotional and intellectual support at various stages along the way. Her initial suggestions, patience, and encouragement allowed this dissertation to take the turn that it did. I am also very grateful to Christopher Nappa and Melissa Harl Sellew for their unflagging encouragement and kindness over the years. It was in Melissa’s seminar that an initial piece of this dissertation was begun. My heartfelt thanks also to Susanna Ferlito, who graciously stepped in at the last minute and offered valuable feedback, and to Susan Noakes, for offering independent studies so that I could develop my interest in Italian language and literature. -
The Pharmacy of Euripides: Asclepius and the Theater of Dionysus
Robin Mitchell-Boyask - April 6th, 1996 The Pharmacy of Euripides: Asclepius and the Theater of Dionysus If this road, before it opens into the grove of the Muses, leads us over by the temple of Asclepius, so is this for acquaintances of Aristotle only further proof that we are moving in the right footsteps. -- Jacob Bernays[1] Jacob Bernays, the first great proponent of the medical interpretation of Aristotelian catharsis (and the uncle of Sigmund Freud's wife), was closer to a truth about tragedy than he realized, because the Muses indeed are quite close to the temple of Asclepius. For if Aristotle ever did visit the Theater of Dionysus in Athens to witness dramatic performances, an activity he subordinated to reading, a few steps, even a brief glance over his shoulder, would have taken him into the Athenian City Asklepieion. In the following investigate the interplay the imagery of disease in drama with the development of the cult of the healing hero/god Asclepius in fifth-century Athens. Asclepius, a son of Apollo, invented the art of healing, and became so good at it that he attempted to resurrect mortals, for Zeus destroyed him. But the Greeks couldn't make up their mind about him, so in cultic practice he was a god. Recognizing in this study the link between medicine and poetry that the Athenians drew, we shall see the placement of the god of physical healing near the Theater turns it into a locus of therapy for the polis. Indeed, I shall further suggest in turn that it was the earlier associations among poetry, healing and immortality that might have led to the installation of Asclepius' shrine above the theater. -
What Do the Artistic Representations of Antinous Reveal About His Reception in the Roman Period?’ by Emily Sherriff (STAAR 9 -2019)
St Anne’s Academic Review 2019 Emily Sherriff 1 2 What do the artistic representations of Antinous reveal about his 3 reception in the Roman period? 4 5 Classical Archaeology, Faculty of Classics 6 7 *** 8 9 Abstract 10 There are more portrait depictions of Antinous, a country boy from Asia Minor, than 11 of most Roman emperors. Does the relationship between Emperor Hadrian and 12 Antinous explain the high number of representations, or can it be explained by 13 Antinous’ deification and flexibility as a hero and god? In this article I have examined 14 a variety of artistic representations of Antinous from different locations around the 15 Roman Empire and discussed why these representations were made, and what they 16 meant for those viewing them. In doing so I show that Antinous was more than just a 17 favourite of Hadrian: in death, to the people who participated in his cult, he became a 18 genuine focus of worship, who had the tangible powers and abilities of a deity. 19 20 21 Introduction 22 Portrait depictions of Antinous were not reserved to one type or location; 23 instead, these depictions have been found in a variety of settings across the Roman 24 Empire and range from colossal statues and busts, to smaller portable items such as 25 coins and cameos (Opper 2008, 186). The variety of representations of Antinous 26 perhaps explains why there is such a vast quantity of depictions of him from the Roman 27 world. Antinous is most commonly depicted with attributes or poses usually associated 28 with deities, alluding to his deification and subsequent worship in the years following 29 his death in AD 130. -
An Orpheus Among the Animals at Dumbarton Oaks , Greek, Roman and Byzantine Studies, 33:4 (1992:Winter) P.405
MADIGAN, BRIAN, An Orpheus Among the Animals at Dumbarton Oaks , Greek, Roman and Byzantine Studies, 33:4 (1992:Winter) p.405 An Orpheus Among the Animals at Dumbarton Oaks Brian Madigan ROM TRANSITIONS between given historical periods come F some of the more problematic cases of meaning in the visual arts, where the precise significance of a subject can shift with changes in iconographic detail, the audience, or the specific context within which the subject is understood. A textile from Egypt in the collection of Dumbarton Oaks (PLATE 1) offers such a case, though it has received scant attention.1 The traditional periodic designations of 'Early Christian', 'Byzantine', or 'Coptic', which might be applied to this textile, lose some thing of their convenience here because they indicate a more precise and certain religious intention on the part of the creator and the consumer of the object than the complex conditions of surviving pagan and developing Christian traditions and our im perfect modern understanding of them would seem to warrant. The subject here is not an uncommon one in works of visual art from Late Antiquity: Orpheus charming a gathering of animals with his song. A possible Christian interpretation of Orpheus generally, and by extension this old pagan subject in particular has been much discussed. 2 But the Christian interpretations 1 Inv. 74.124.19. H. Peirce and R. Tyler, L'art byzantin (Paris 1934) 122; J. Huskinson, "Some Pagan Mythological Figures and their Significance in Early Christian Art," BRS 42 (1974) 92 n.12. J. B. Friedman, "Syncretism and Allegory in the Jerusalem Mosaic," Traditio 23 (1967) 8 n.25, refers to this textile as one of three examples of Early Christian depictions of Orpheus including a Pan or centaur; in fact there are others, as will be discussed below. -
Femina Princeps: the Life and Legacy of Livia Drusilla
Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter now, including display on the World Wide Web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Clare A Reid April 9, 2019 Femina Princeps: The Life and Reputation of Livia Drusilla by Clare A Reid Dr. Niall Slater Adviser Department of Classics Dr. Niall Slater Adviser Dr. Katrina Dickson Committee Member Dr. James Morey Committee Member 2019 Femina Princeps: The Life and Reputation of Livia Drusilla By Clare A Reid Dr. Niall Slater Adviser An abstract of a thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Department of Classics 2019 Abstract Femina Princeps: The Life and Reputation of Livia Drusilla By Clare Reid Livia Drusilla is not a figure many are intimately acquainted with outside the field of Classics, but, certainly, everyone has heard of her family. Wife of Augustus, the founder of the Roman Empire, mother of the emperor Tiberius, grandmother of the emperor Claudius, great-grandmother of the emperor Caligula, and great-great-grandmother of the emperor Nero, Livia gave rise to a brood (all notably not from Augustus but descended from her children from her first marriage) who shaped the early years of the Roman Empire.