'Elysium' Overview of the God Hades • Hades 'The Invisible
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The Song Elite's Obsession with Death, the Underworld, and Salvation
BIBLID 0254-4466(2002)20:1 pp. 399-440 漢學研究第 20 卷第 1 期(民國 91 年 6 月) Visualizing the Afterlife: The Song Elite’s Obsession with Death, the Underworld, and Salvation Hsien-huei Liao* Abstract This study explores the Song elite’s obsession with the afterlife and its impact on their daily lives. Through examining the ways they perceived the relations between the living and the dead, the fate of their own afterlives, and the functional roles of religious specialists, this study demonstrates that the prevailing ideas about death and the afterlife infiltrated the minds of many of the educated, deeply affecting their daily practices. While affected by contem- porary belief in the underworld and the power of the dead, the Song elite also played an important role in the formation and proliferation of those ideas through their piety and practices. Still, implicit divergences of perceptions and practices between the elite and the populace remained abiding features under- neath their universally shared beliefs. To explore the Song elite’s interactions with popular belief in the underworld, several questions are discussed, such as how and why the folk belief in the afterlife were accepted and incorporated into the elite’s own practices, and how their practices corresponded to, dif- fered from, or reinforced folk beliefs. An examination of the social, cultural, * Hsien-huei Liao is a research associate in the Department of East Asian Languages and Civilizations at Harvard University, U.S.A. 399 400 漢學研究第20卷第1期 and political impact on their conceptualization of the afterlife within the broad historical context of the Song is key to understand their beliefs and practices concerning the underworld. -
A New Paradise Ekkehardt Mueller
A New Paradise Ekkehardt Mueller There is hardly a human being that does not long for peace, fulfillment, harmony, and happiness or, in other words, for some type of a paradise. The Greek talked about Elysium, the land of the blessed, in which good people would be able to live without worries. Germanic tribes dreamed about Valhalla, a splendid palace, where the warriors would feast on the flesh of boars and drink liquor. They would spent their days with sports, fighting, and hunting. Muslims are looking forward to a garden with abundant food to eat, wine to drink, and noble virgins to serve them. Many have tried or are still trying to create a paradise of their own on this earth. In any case, many yearn for complete satisfaction and perfect bliss. The first two chapters of Scripture talk about a paradise that humanity has lost, the last two chapters about a paradise which we may gain. I. Time and Place of the New Paradise • Rev. 20-21 After the Millennium, when Satan and his followers will be destroyed, a new heaven and a new earth will be created (Rev. 21:1). • Rev. 21:1-2 The new paradise will be found on planet earth, probably because it was here that the drama of redemption unfolded, and it was here that Jesus had lived and had been crucified. II. The Features of the New Paradise 1. The City (Rev. 21:10-27) The New Jerusalem reminds us of the garden of Eden and the temple, and it replaces both. In addition, it is found in stark contrast to the great, but wicked city Babylon (Rev 18:10, 21). -
Death and the Afterlife in Homer
Death and the Afterlife in Homer Death and what happens after death are universal concerns for humanity; around the world different cultures and religions contemplate our existence, and try to make sense of both our place in the world and our deaths. Although we no longer (for the most part) follow the religious beliefs of the ancient Greeks and Romans, their exploration of mortality and the afterlife can nonetheless be emotionally powerful and meaningful for us. In what follows, we will consider the presentation of death and the afterlife in some of the earliest Greek literature, Homer’s Iliad and Odyssey. The most common name for the underworld was Hades, a personified god and brother of Zeus, but also a place to which the souls of departed mortals go. Hades is in fact far more commonly mentioned as the underworld than as a personified god in Greek literature, although we do see him as an actual character in some myths, most famously in the story of the abduction of Persesphone by Hades, a tale told in the Homeric Hymn to Demeter. In post-classical times, the term Hades was adopted by Christian authors, including the early Church Fathers, Dante and Milton, to refer to the Christian concept of Hell. The term used is the same, but it is important to distinguish between the Christian conception of Hell and Hades. For Christians, Hell is a place to which the souls of the wicked descend after death, whereas the souls of the good are taken to Heaven to be with God. The ancient Greek concept is extremely different. -
The Underworld Krater from Altamura
The Underworld Krater from Altamura The Underworld krater was found in 1847 in Altamura in 1 7 Persephone and Hades Herakles and Kerberos ITALY southeastern Italy. The ancient name of the town is unknown, Hades, ruler of the Underworld, was the brother of Zeus (king of the gods) and Poseidon (god of The most terrifying of Herakles’s twelve labors was to kidnap the guard dog of the Underworld. APULIA Naples but by the fourth century bc it was one of the largest fortified Altamura the sea). He abducted Persephone, daughter of the goddess Demeter, to be his wife and queen. For anyone who attempted to leave the realm of the dead without permission, Kerberos (Latin, Taranto (Taras) m settlements in the region. There is little information about Although Hades eventually agreed to release Persephone, he had tricked her into eating the seeds Cerberus) was a threatening opponent. The poet Hesiod (active about 700 BC) described the e d i t e r of a pomegranate, and so she was required to descend to the Underworld for part of each year. “bronze-voiced” dog as having fifty heads; later texts and depictions give it two or three. r a what else was deposited with the krater, but its scale suggests n e a n Here Persephone sits beside Hades in their palace. s e a that it came from the tomb of a prominent individual whose community had the resources to create and transport such a 2 9 substantial vessel. 2 The Children of Herakles and Megara 8 Woman Riding a Hippocamp Map of southern Italy marking key locations mentioned in this gallery The inhabitants of southeastern Italy—collectively known as The Herakleidai (children of Herakles) and their mother, Megara, are identified by the Greek The young woman riding a creature that is part horse, part fish is a puzzling presence in the Apulians—buried their dead with assemblages of pottery and other goods, and large vessels inscriptions above their heads. -
THE ARGONAUTIKA He'd Gone on His Vain Quest with Peirithoos: That Couple Would Have Made Their Task's Fulfillment Far Easier for Them All
Book I Starting from you, Phoibos, the deeds ofthose old-time mortals I shall relute, who by way ofthe Black Sea's mouth and through the cobalt-dark rocks, at King Pelias 's commandment, in search of the Golden Fleece drove tight-thwarted Argo. For Pelias heard it voiced that in time thereafter a grim fate would await him, death at the prompting of the man he saw come, one-sandaled, from folk in the country: and not much later-in accordance with your word-Jason, fording on foot the Anauros's wintry waters, saved from the mud one sandal, but left the other stuck fast in the flooded estuary, pressed straight on to have his share in the sacred feast that Pelias was preparing for Poseidon his father, and the rest of the gods, though paying no heed to Pelasgian Hera. The moment Pelias saw him, he knew, and devised him a trial of most perilous seamanship, that in deep waters or away among foreign folk he might lose his homecoming. ,\row singers before 7ny time have recounted how the vessel was fashioned 4 Argos with the guidance of Athena. IW~cctIplan to do now is tell the name and farnib of each hero, describe their long voyage, all they accomplished in their wanderings: may the Muses inspire mnj sinpng! First in our record be Orpheus, whom famous Kalliope, after bedding Thracian Oikgros, bore, they tell us, 44 THE XRGONAUTIKA hard by Pimpleia's high rocky lookout: Orpheus, who's said to have charmed unshiftable upland boulders and the flow of rivers with the sound of his music. -
The Bounds of Narrative in Don Delillo's Underworld
humanities Article The Bounds of Narrative in Don DeLillo’s Underworld: Action and the Ecology of Mimêsis Andrew Bowie Hagan Independent Scholar, Atlanta, GA 30309, USA; [email protected] Abstract: The interrelationship of natural and cultural history in Don DeLillo’s Underworld presents an ecology of mimesis. If, as Timothy Morton argues, ecological thought can be understood as a “mesh of interconnection,” DeLillo’s novel studies the interpretation of connection. Underworld situates its action in the Cold War era. DeLillo’s formal techniques examine the tropes of paranoia, containment, excess, and waste peculiar to the history of the Cold War. Parataxis and free-indirect discourse emphasize the contexts of reference in the novel, illustrating how hermeneutics informs the significance of boundaries. DeLillo’s use of parataxis exemplifies the conditions that propose and limit metaphor’s reference to reality, conditions that offer the terms for meaningful action. I utilize Paul Ricoeur’s hermeneutics to demonstrate how Underworld situates the reference to reality in its temporal and narrative condition. The historical situation of the novel’s narrative structure allows DeLillo to interrogate the role of discourse in producing and interpreting connection. Underworld offers layers of significance; the reader’s engagement with the novel’s discourse reaffirms the conditions of a meaningful relationship with reality in the pertinence of a metaphor. Keywords: contemporary fiction; ecocriticism; temporality; reference; metaphor; parataxis; epic; Citation: Hagan, Andrew Bowie. novel; immanence 2021. The Bounds of Narrative in Don DeLillo’s Underworld: Action and the Ecology of Mimêsis. Humanities 10: 40. https://doi.org/10.3390/ 1. Introduction h10010040 Figurative conditions present an ecology in Don DeLillo’s 1997 novel, Underworld.A work of fiction, the novel is grounded in the history and historiography of the Cold War Received: 1 January 2021 era. -
Book 10 – the Kingdom of the Dead Hades (1) God of the Dead, Ruler of the Underworld, Which Was Accordingly Known As Hades
Book 10 – The Kingdom of the Dead Hades (1) God of the dead, ruler of the Underworld, which was accordingly known as Hades. In various adventures, Hades abducted the maiden Persephone, tricked the heroes Theseus and Peirithous and managed to get himself handcuffed by Sisyphus. The god Hades was a dread figure to the living, who were quite careful how they swore oaths in his name. To many people, simply to utter the word "Hades" was a frightening proposition. Realm of the dead, either underground or in the far West of the world known to the early Greeks - or both. Named for the god Hades, its ruler. Hades (2) As is not surprising, the ancient Greeks did not know what to expect after death. Notions of the afterlife were various and conflicting. Some thought that great heroes lucked out by traveling to the Elysian Fields, where they could hunt and feast and socialize in pleasant company for eternity, while commoners were consigned to a lifeless and boring abode in the Fields of Asphodel. First they'd drink the waters of Lethe, which caused them to lose all memory of their former lives and thus lack anything to talk about. In its earlier depictions, the underworld kingdom of Hades was such a dank and dark and moldering place that were it laid open to the heavens, the gods themselves would turn away in disgust. Persephone Beautiful daughter of Zeus and Demeter; sometimes considered an Olympian. While gathering flowers in a field one day, Persephone was abducted to the Underworld by Hades, who arose in his chariot from a fissure in the ground. -
Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature Leah Whitehead Craig Western Kentucky University
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by TopSCHOLAR Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2008 A Journey Into the Land of No Return: Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature Leah Whitehead Craig Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Comparative Methodologies and Theories Commons, History of Religions of Eastern Origins Commons, Other Religion Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Craig, Leah Whitehead, "A Journey Into the Land of No Return: Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature" (2008). Honors College Capstone Experience/Thesis Projects. Paper 106. http://digitalcommons.wku.edu/stu_hon_theses/106 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. A Journey Into the Land of No Return: Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature Leah Whitehead Craig Senior Honors Thesis Submitted to the Honors College of Western Kentucky University Spring, 2008 Approved by: _________________________________ _________________________________ -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
With Seamus Heaney in Elysium
MONTAGE Sarah Ruden (2008, the first by a woman), With Seamus Heaney and Barry Powell (2016). In 2011, A.T. Reyes published C.S. Lewis’s Lost Aeneid (book 1 and most of book 2, in rhymed alexan- in Elysium drines). Each has its appeal, each its ad- herents. Let a thousand Aeneids bloom, I A new translation from the Aeneid say, for to read the poem in the Englished versions of some of by richard f. thoMaS our age’s best poets Aeneid Book VI: A New is to be doubly en- Verse Translation, by riched. There has Seamus Heaney, Litt.D. n the fall of 2002, in those war-dark- lightning striking in a clear sky. At the time been no compa- ’98 (Farrar, Straus and ened days when Seamus Heaney was still of the seminar, Heaney was still living with rable period in the Giroux, $25) among us at Harvard (then as Emerson the poem, first published as “Jupiter and the 600 years since the I Poet in Residence), he generously agreed Thunder” in The Irish Times of November 17 of first English (Middle Scots, actually) trans- to come to a session of my freshman semi- that year. He would continue to do so until it lation by Gavin Douglas, written in 1523, nar on poetic translation. For two hours he was published as “Anything Can Happen, af- published in 1553. Others followed until joined in discussions of the Horace trans- ter Horace Odes 1.34” in District and Circle (2006), Dryden’s great Aeneis of 1697 silenced trans- lations by some of the 12 entranced 18-year with Horace made new: “Anything can hap- lators throughout the eighteenth century olds, some now published poets and writ- pen, the tallest towers | Be overturned.” and into the nineteenth. -
Leto As Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C
https://publications.dainst.org iDAI.publications ELEKTRONISCHE PUBLIKATIONEN DES DEUTSCHEN ARCHÄOLOGISCHEN INSTITUTS Dies ist ein digitaler Sonderdruck des Beitrags / This is a digital offprint of the article Lavinia Foukara Leto as Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C. aus / from Archäologischer Anzeiger Ausgabe / Issue Seite / Page 63–83 https://publications.dainst.org/journals/aa/2027/6626 • urn:nbn:de:0048-journals.aa-2017-1-p63-83-v6626.5 Verantwortliche Redaktion / Publishing editor Redaktion der Zentrale | Deutsches Archäologisches Institut Weitere Informationen unter / For further information see https://publications.dainst.org/journals/aa ISSN der Online-Ausgabe / ISSN of the online edition 2510-4713 ISSN der gedruckten Ausgabe / ISSN of the printed edition Verlag / Publisher Ernst Wasmuth Verlag GmbH & Co. Tübingen ©2019 Deutsches Archäologisches Institut Deutsches Archäologisches Institut, Zentrale, Podbielskiallee 69–71, 14195 Berlin, Tel: +49 30 187711-0 Email: [email protected] / Web: dainst.org Nutzungsbedingungen: Mit dem Herunterladen erkennen Sie die Nutzungsbedingungen (https://publications.dainst.org/terms-of-use) von iDAI.publications an. Die Nutzung der Inhalte ist ausschließlich privaten Nutzerinnen / Nutzern für den eigenen wissenschaftlichen und sonstigen privaten Gebrauch gestattet. Sämtliche Texte, Bilder und sonstige Inhalte in diesem Dokument unterliegen dem Schutz des Urheberrechts gemäß dem Urheberrechtsgesetz der Bundesrepublik Deutschland. Die Inhalte können von Ihnen nur dann genutzt und vervielfältigt werden, wenn Ihnen dies im Einzelfall durch den Rechteinhaber oder die Schrankenregelungen des Urheberrechts gestattet ist. Jede Art der Nutzung zu gewerblichen Zwecken ist untersagt. Zu den Möglichkeiten einer Lizensierung von Nutzungsrechten wenden Sie sich bitte direkt an die verantwortlichen Herausgeberinnen/Herausgeber der entsprechenden Publikationsorgane oder an die Online-Redaktion des Deutschen Archäologischen Instituts ([email protected]). -
Greek and Roman Perceptions of the Afterlife in Homer's
McNair Scholars Journal Volume 11 | Issue 1 Article 2 2007 Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Jeff Adams Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/mcnair Recommended Citation Adams, Jeff (2007) Gr" eek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid," McNair Scholars Journal: Vol. 11: Iss. 1, Article 2. Available at: http://scholarworks.gvsu.edu/mcnair/vol11/iss1/2 Copyright © 2007 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. http://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol11%2Fiss1%2F2&utm_medium=PDF&utm_campaign=PDFCoverPages Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Abstract Homer’s Odyssey says that death “is the This study is a literary analysis of way of mortals, whenever one of them Homer’s Iliad and Odyssey and Virgil’s should die, for the tendons no longer Aeneid. Of specific interest are the hold flesh and bones together, but the interactions of Achilles, Odysseus, strong might of blazing fire destroys and Aeneas with their beloved dead. these things as soon as the spirit has left I focused on what each party, both the the white bones, and the soul, having living and the dead, wanted and the flown away like a dream, hovers about.”1 results of their interaction. Methods People have always been fascinated by included reading passages from the death and the afterlife.