2012 Fjcl Certamen Advanced Round 1
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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. -
Rubens Met.Indd
������������������ ��������������� ����������������������� Lesson Plans | Rubens’s Metamorphoses | Language Arts | Grades 6–8 Rubens’s Metamorphoses | Language Arts | Grades 6–8 1 curricular connections class periods Language Arts, Creative Writing, 1 hour for introduction Mythology, Reading 1 week for writing activity concept lesson activity Many of Rubens’s oil sketches and paintings depict myth- materials ological stories. Rubens was a great lover of the classics, so it is certain that he was very familiar with the ancient Ovid’s “The Story of Leucothoe and the Sun” from the Roman poet Ovid. In his oil sketch Clytie Grieving, Rubens Metamorphoses captures a powerful scene from Ovid’s Metamorphoses Image of Rubens’s oil sketch Clytie Grieving entitled “The Story of Leucothoe and the Sun.” Reading Art Worksheet Paper In this lesson, students will participate in a focused Pencils Reading Art activity looking at Rubens’s oil sketch Clytie Drawing materials Grieving. Students will then read the portion of the Meta- morphoses that tells the story of Clytie. As a culminating activity, students will write a myth of their own. Students teacher preparation will choose one powerful moment from their poem and illustrate it, as Rubens did with Clytie Grieving. 1. Download and print class set of the oil sketch Clytie Grieving. objectives 2. Download and print background information on Clytie Grieving. Students will participate in a focused Reading Art activity 3. Print class set of Ovid’s “The Story of Leucothoe and looking at Rubens’s oil sketch Clytie Grieving. the Sun” (pp. 5–6 of this guide). Students will read the portion of the Metamophoses that 4. -
Sisyphos 1 Sisyphos
Sisyphos 1 Sisyphos Sisyphos (griechisch Σίσυφος, latinisiert Sisyphus) ist ein Held der griechischen Mythologie. Er ist der Sohn von Aeolos und Enarete. Er war der Gatte von Merope und zeugte mit ihr den Glaukos, Ornytion, Thersandros und Almos. Er gilt als der Stifter der Isthmischen Spiele und Gründer und König von Ephyra (Korinth). Nach anderer Überlieferung war er nicht der Gründer von Ephyra, sondern erhielt die Herrschaft von Medea übertragen. Vor allem ist er im Volksmund bekannt durch seine Bestrafung, die sogenannte Sisyphusarbeit. Mythos Stiftung der Isthmischen Spiele durch Sisyphos Persephone beaufsichtigt Sisyphos in der Unterwelt, schwarzfigurige attische Amphora, um 530 v. Chr., Staatliche Antikensammlungen (Inv. 1494) Ino hatte im Wahn Melikertes, ihren eigenen Sohn, getötet und sich mit dem Leichnam ins Meer gestürzt, als sie wieder zu Sinnen kam. Ein Delphin brachte den Knaben an Land. Sisyphos fand ihn und begrub ihn auf dem Isthmus und stiftete ihm zu Ehren die Isthmischen Spiele. (Am angegebenen Ort wird Theseus beziehungsweise Poseidon als Stifter genannt.) Sisyphos' Versuch, seinen Bruder Salmoneus zu töten Sisyphos befragte das Orakel von Delphi, wie er seinen Bruder Salmoneus töten könne. Darauf erhielt er die Antwort, dass er Kinder mit Tyro, der Tochter des Salmoneus, zeugen solle. Diese würden dann Salmoneus töten. Er ließ sich mit Tyro ein, und diese schenkte zwei Söhnen das Leben. Als sie jedoch von dem Orakel hörte, tötete sie ihre eigenen Kinder. Zeugung des Odysseus Autolykos stahl heimlich Rinder, Schafe und Ziegen des Sisyphos. Sisyphos bemerkte, dass seine Herden kleiner wurden, während die des Autolykos weiter zunahmen. Er markierte seine Tiere an den Hufen und konnte so den Diebstahl nachweisen. -
Madness and Gender in Late-Medieval English Literature
Durham E-Theses Madness and Gender in Late-Medieval English Literature JOSE, LAURA How to cite: JOSE, LAURA (2010) Madness and Gender in Late-Medieval English Literature, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/217/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 1 Laura Jose “Madness and Gender in Late-Medieval Literature” This thesis discusses presentations of madness in medieval literature, and the ways in which these presentations are affected by (and effect) ideas of gender. It includes a discussion of madness as it is commonly presented in classical literature and medical texts, as well as an examination of demonic possession (which shares many of the same characteristics of madness) in medieval exempla. These chapters are followed by a detailed look at the uses of madness in Malory‟s Morte Darthur, Gower‟s Confessio Amantis, and in two autobiographical accounts of madness, the Book of Margery Kempe and Hoccleve‟s Series. -
Some Words About the Category of Trickster in Ancient Mythology
Studia Religiologica 53 (3) 2020, s. 203–212 doi:10.4467/20844077SR.20.014.12754 www.ejournals.eu/Studia-Religiologica Autolycus and Sisyphus – Some Words about the Category of Trickster in Ancient Mythology Konrad Dominas https://orcid.org/0000-0001-5120-4159 Faculty of Polish and Classical Philology Adam Mickiewicz University in Poznań e-mail: [email protected] Abstract The goal of this article is to juxtapose the trickster model suggested by William J. Hynes in the text Mapping the Characteristics of Mythic Tricksters: A Heuristic Guide with the stories of Sisyphus and Autolycus. A philological method proposed in this article is based on a way of understand- ing a myth narrowly, as a narrative with a specific meaning, which can be expressed in any literary genre. According to this definition, every mythology which is available today is an attempt at pre- senting a story of particular mythical events and the fortunes of gods and heroes. Therefore, stories about Sisyphus and Autolycus are myths that have been transformed and which in their essence may have multiple meanings and cannot be attributed to one artist. The philological method is, in this way, based on isolating all fragments of the myth relating to the above protagonists and subse- quently presenting them as a coherent narrative. Keywords: category of trickster, ancient mythology, Autolycus, Sisyphus, ancient literature Słowa kluczowe: kategoria trickstera, mitologia antyczna, Autolykos, Syzyf, literatura antyczna Every academic article should begin with the definition of basic terms connected to the main idea of the subject and included in the discourse suggested by the author. -
CV Leah Kronenberg
Leah Kronenberg Title and Address: Contact Information: Associate Professor Tel: 848-932-9600 Department of Classics Fax: 732-932-9246 School of Arts and Sciences - Classics [email protected] 131 George Street New Brunswick , NJ 08901 Education Highest Earned Degree Ph.D., Classical Philology, Harvard University, November 2003 Dissertation Beyond Good and Evil: Redefining Morality from Socrates to Virgil, November 2003, Richard F. Thomas Other Earned Degrees A.M., Harvard University, Classical Philology, 2000 A.B., summa cum laude in Classics, Harvard University, 1997 Employment History Positions Held 2010-ongoing Associate Professor of Classics, Rutgers University 2004-2010 Assistant Professor of Classics, Rutgers University 2003-2004 Lecturer in Classics, Harvard University 1999-2002 Teaching Fellow in the Classics, Harvard University Titles or Assignments within Positions Held 2015-ongoing Curriculum Coordinator, Classics Department, Rutgers University 2012-2014 Undergraduate Director, Classics Department, Rutgers University 2009-2010 Graduate Director, Classics Department, Rutgers University 2005-2007 Undergraduate Director, Classics Department, Rutgers University Publications Books Allegories of Farming from Greece and Rome: Philosophical Satire in Xenophon, Varro, and Virgil. Cambridge University Press/UK, June 2009, 223 pages, by Leah Kronenberg. Articles in Refereed Journals "Aemilius Macer as Corinna's Parrot in Ovid Amores 2.6," Classical Philology Forthcoming. "Me, Myself, and I: Multiple (Literary) Personalities in Catullus 35," Classical World, 107.3 (2014) 367-381. http://muse.jhu.edu.proxy.libraries.rutgers.edu/journals/classical_world/v107/107.3.kronenberg.html "The Rise of Sabinus: Sexual Satire in Catalepton 10," Classical Journal 110.2 (2014) 191-212. “Mezentius the Epicurean,” Transactions of the American Philological Association, 135 (2005) 403-431. -
The Abuse of Patriarchal Power in Rome: the Rape Narratives of Ovid’S Metamorphoses
The Abuse of Patriarchal Power in Rome: The Rape Narratives of Ovid’s Metamorphoses A Thesis Submitted in Fulfilment of the Requirements for the Degree of Master of Arts in Classics By K. Tinkler Classics Department University of Canterbury 2018 Table of Contents Acknowledgements……………………………………………………………………………………………………………. 4 Abstract……………….…………………………………………………………………………………………………………….. 5 Introduction……………………………………………………………………………………………………………………….. 6 CHAPTER ONE: Gender in Rome………………………………………………………………………………………. 12 A Woman’s Place in a Man’s World: Patriarchy in Rome…………………………………………………… 12 Lucretia’s Legacy: The Cultural Template of the Raped Woman……………………………………….. 18 The Intimacy of Rape: The Body of a Woman in Antiquity…………………………………………………. 22 CHAPTER TWO: Rape in the Metamorphoses…………………………………………………………………… 29 The Rape Stories of the Metamorphoses………………………………………………………………………….. 29 The Characteristics of Ovid’s Perpetrators………………………………………………………………………… 30 Gods and Non-Human Perpetrators………………………………………………………………………………….. 34 The Characteristics of Ovid’s Victims…………………………………………………………………………………. 40 The Rape of Philomela………………………………………………………………………………………………………. 44 The Male Gaze………………………………………………………………………………………………………………….. 48 CHAPTER THREE: The Aftermath of Rape…………………………………………………………………………. 55 The Non-Metamorphic Consequences………………………………………………………………………………. 55 The Psychological Effect on the Victim……………………………………………………………………………… 60 The Eternal Link between the Victim and the Rapist…………………………………………………………. 63 The Second Rape: The Goddesses’ Wrath…………………………………………………………………………. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable). -
Zeus' Lightning in Early Greek Myth and in Kleanthes' Hymn*
ROCZNIKI HUMANISTYCZNE Tom LIV-LV, zeszyt 3 – 2006-2007 JAN MAARTEN BREMER * ZEUS’ LIGHTNING IN EARLY GREEK MYTH AND IN KLEANTHES’ HYMN* More than hundred years ago, the French archaeologist Paul Foucart discovered in Mantineia — that famous city in the heart of the Peloponnesus — a heavy stone with a perfectly readable inscription ΔΙΟΣ ΚΕΡΑΥΝΟ. This stone inspired Hermann Usener to write an enthusiastic article.1 He was enthusiastic because he was convinced that now he had found proof of his fundamental intuition that originally Greeks and Romans worshipped what he called Augenblicksgötter. This was, according to him, what had happened in Mantineia. During a heavy thunderstorm, lightning had struck a stone (a stone which may have had traces of iron in it, who knows?). The local people who had witnessed this event, inscribed these letters on the stone, as they believed that from now onwards the stone was a sacred object, it belonged “to Zeus, the Lightning”. Elsewhere similar objects have been found with the inscription ΔΙΟΣ ΚΑΤΑΒΑΤΕΩ, “of Zeus, the one who came down (here)”,2 and Pausanias (III, 22,1) tells us that in the South of the Peloponnesus, at Gythion, people showed him a stone as the stone ΔΙΟΣ ΚΑΠΠΩΤΑ “of Zeus, the one who fell down (here)” (from καταπίπτω). Prof. Dr. JAN MAARTEN BREMER – retired professor of the University of Amsterdam; address for correspondence — e-mail: [email protected] * I thank Dr. Krzysztof Narecki (Lublin) who was so kind as to translate this paper into Polish and to read it to the audience at the conference in honour of the classical scholar Mgr Remigiusz Popowski, at the Catholic University of Lublin, on the 5th of October 2006, as I was unable to participate in the conference. -
Hesiod, the Poems and Fragments (8Thc Bc)
Hesiod_0606 10/14/2005 05:13 PM THE ONLINE LIBRARY OF LIBERTY © Liberty Fund, Inc. 2005 http://oll.libertyfund.org/Home3/index.php HESIOD, THE POEMS AND FRAGMENTS (8THC BC) URL of this E-Book: http://oll.libertyfund.org/EBooks/Hesiod_0606.pdf URL of original HTML file: http://oll.libertyfund.org/Home3/HTML.php?recordID=0606 ABOUT THE AUTHOR The early Greek poet Hesiod is credited with the invention of didactic poetry around 700 B.C. His surviving works are the Theogony, relating to the stories of the gods, and the Works and Days, relating to peasant life. Hesiod’s poetry includes passages critical of those aristoi who support themselves on the labors of others rather than through their own exertions. ABOUT THE BOOK A collection of Hesiod’s poems and fragments, including Theogony which are stories of the gods, and the Works and Days which deals with peasant life. THE EDITION USED The Poems and Fragments done into English Prose with Introduction and Appendices by A.W. Mair M.A. (Oxford: Clarendon Press, 1908). COPYRIGHT INFORMATION The text of this edition is in the public domain. FAIR USE STATEMENT This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit. http://oll.libertyfund.org/Home3/EBook.php?recordID=0606 Page 1 of 163 Hesiod_0606 10/14/2005 05:13 PM _______________________________________________________ TABLE OF CONTENTS PREFACE INTRODUCTION I. -
APHRODITE Was the Great Olympian Goddess of Beauty, Love, Pleasure and and Procreation. She Was Depicted As a Beautiful Woman Us
APHRODITE was the great Olympian goddess of beauty, love, pleasure and and procreation. She was depicted as a beautiful woman usually accompanied by the winged godling Eros (Love). Her attributes included a dove, apple, scallop shell and mirror. In classical sculpture and fresco she was often depicted nude. Some of the more famous myths featuring the goddess include:-- Her birth from the sea foam; Her adulterous affair with the god Ares; Her love for Adonis, a handsome Cypriot youth who was tragically killed by a boar; Her love for Ankhises, a shepherd-prince; The judgement of Paris in which the goddess was awarded the prize of the golden apple in return for promising Paris Helene in marriage; The Trojan War in which she supported her favourites Paris and Aeneas and was wounded in the fighting; The race of Hippomenes for Atalanta, which was won with the help of the goddess and her golden apples; The death of Hippolytos, who was destroyed by the goddess for scorning her worship; The statue of Pygmalion which was brought to life by Aphrodite in answer to his prayers; The persecution of Psykhe, the maiden loved by the goddess' son Eros. APOLLON (or Apollo) was the great Olympian god of prophecy and oracles, healing, plague and disease, music, song and poetry, archery, and the protection of the young. He was depicted as a handsome, beardless youth with long hair and various attributes including:--a wreath and branch of laurel; bow and quiver; raven; and lyre. The most famous myths of Apollon include:-- His birth on the island of Delos; The -
In the Homeric Hymn to Hermes
HARRELL, SARAH E., Apollo's Fraternal Threats: Language of Succession and Domination in the "Homeric Hymn to Hermes" , Greek, Roman and Byzantine Studies, 32:4 (1991:Winter) p.307 Apollo's Fraternal Threats: Language of Succession and Domination In the Homeric Hymn to Hermes Sarah E. Harrell OLLO'S PRESENCE IN THE Hymn to Hermes at first strikes 1\the reader as odd, even intrusive. Why, in a format designed to celebrate Hermes, should Apollo play such a prominent role? Some critics have found in the confrontation between Apollo and Hermes evidence of a cultic rivalry be tween the two gods; others emphasize the comic nature of their feud. 1 Although cultic realities and comic concerns might account for the prominence of Apollo here, a more immediate answer may lie in the poetic traditions to which the Hymn re fers. Apollo's first words to Hermes, in which he threatens to hurl the young god into Tartarus, reveal a specific connection between the conflict of Apollo and Hermes on the one hand, and on the other, Zeus' establishment of his power on Olym pus. Further examination will show that the theogonic connota tions of the brothers' struggle are appropriate to a hymn that not only tells the story of the birth of Hermes, but also represents a crisis for the Olympian order: a new god's en trance into the pantheon.2 When Apollo discovers through an omen the identity of the thief who has stolen his cattle, it becomes clear that this conflict is one between siblings (213ff):3 I ].