AESCHYLUS PROMETHEUS BOUND Translated by Ian Johnston Vancouver Island University Nanaimo, BC Canada 2012
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Danaus Plexippus) in Milkweed Gardens and Conservation Areas
Journal of Insect Conservation https://doi.org/10.1007/s10841-018-0102-8 ORIGINAL PAPER Recruitment, survival, and parasitism of monarch butterflies (Danaus plexippus) in milkweed gardens and conservation areas Emily A. Geest1 · L. LaReesa Wolfenbarger1 · John P. McCarty1 Received: 10 July 2018 / Accepted: 24 October 2018 © The Author(s) 2018 Abstract Monarch butterflies (Danaus plexippus) are suffering from declining populations and conservationists have encouraged planting milkweed gardens in urban and suburban landscapes to help offset habitat loss across the breeding range. The effectiveness of gardens as a conservation strategy depends on their ability to attract ovipositing adults and the survival of monarch larvae in these gardens. Larvae are susceptible to a variety of predators as well as to parasitism by a tachinid fly (Lespesia archippivora) and a protozoan parasite (Ophryocystis elektroscirrha) which cause lethal or sublethal effects, yet the severity of these risks in gardens is not well understood. We compared egg abundance and larval survival in traditional conservation areas to gardens that incorporated milkweed to attract monarchs. Additionally, we collected late instar larvae and reared them in the lab to compare parasitism rates between monarch gardens and conservation areas. Both gardens and conservations sites varied widely in recruitment and survival of monarchs and there were no significant differences between the garden and conservation sites. Tachinid fly parasitism ranged from 30% of larvae from conservation sites in 2016 to 55% of larvae from gardens in 2017, but did not differ between the two categories of sites. Parasitism byO. elektroscirrha was detected in fewer than 2% of larvae. The density of milkweed had no effect on the number of monarch eggs in conservation areas or gardens in either year. -
Chapter 4. Hatred in Hesiod
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Kilgallon, Silvie Title: Hatred in Hesiod General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hatred in Hesiod Silvie Kilgallon A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts, January 2019. Word Count: 75,322. 2 Abstract: This thesis examines the conception and role of hatred in the Theogony and Works and Days of Hesiod. -
Macedonian Kings, Egyptian Pharaohs the Ptolemaic Family In
Department of World Cultures University of Helsinki Helsinki Macedonian Kings, Egyptian Pharaohs The Ptolemaic Family in the Encomiastic Poems of Callimachus Iiro Laukola ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XV, University Main Building, on the 23rd of September, 2016 at 12 o’clock. Helsinki 2016 © Iiro Laukola 2016 ISBN 978-951-51-2383-1 (paperback.) ISBN 978-951-51-2384-8 (PDF) Unigrafia Helsinki 2016 Abstract The interaction between Greek and Egyptian cultural concepts has been an intense yet controversial topic in studies about Ptolemaic Egypt. The present study partakes in this discussion with an analysis of the encomiastic poems of Callimachus of Cyrene (c. 305 – c. 240 BC). The success of the Ptolemaic Dynasty is crystallized in the juxtaposing of the different roles of a Greek ǴdzȅǻǽǷȏȄ and of an Egyptian Pharaoh, and this study gives a glimpse of this political and ideological endeavour through the poetry of Callimachus. The contribution of the present work is to situate Callimachus in the core of the Ptolemaic court. Callimachus was a proponent of the Ptolemaic rule. By reappraising the traditional Greek beliefs, he examined the bicultural rule of the Ptolemies in his encomiastic poems. This work critically examines six Callimachean hymns, namely to Zeus, to Apollo, to Artemis, to Delos, to Athena and to Demeter together with the Victory of Berenice, the Lock of Berenice and the Ektheosis of Arsinoe. Characterized by ambiguous imagery, the hymns inspect the ruptures in Greek thought during the Hellenistic age. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
General Index
GENERAL INDEX A.GILIM, and n. Aesopic tradition, , and abstractions, n. nn. –, Acarnania, Aetna, , Acastus, Aetna, n. Accius, and n. Agamemnon, n. , , , accusative, , n. , –, , –, , – Agdistis, Achelous, Agenor, Achilles, , , , , , , , ages, myth of, see races, myth of –, , , , , Agias of Troezen, , Acontius, , n. , , agriculture, , , , , , – and n. , , , , , –, Actaeon, n. , , , , n. , –, ; Actor, agriculture section in Works and Acusilaus of Argos, and n. , Days, , , –, and n. Agrius, Adad, aidos, n. , ; personified, , adamant, adjective(s), , , Aietes, Admonitions of Ipuwar,andn. Aigipan, Adodos, ainos, , –, Adrasteia, Aither, and n. Adriatic (sea), Aithon, , n. Aegean (sea), , , aitiology, , , nn. –, Aegimius, – and n. , , , and Aegle, , n. , , , , Aelian Ajax son of Oileus, Historical miscellany, , Ajax son of Telamon, , , – and n. Aeolic dialect, , –, , Akkadian, n. , n. , , , , –; East Al Mina, , or Asiatic Aeolic, –, Alalu, , n. , , Alcaeus, , , n. Aeolids, , , Alcidamas, , , , , , Aeolis, Eastern, , , –, , n. Aeolism, , , , Alcinous, , n. , n. , Aeolus, –, , , , Aeschines, Alcmaeonidae, Aeschylus, , , , and Alcmaeonis, n. , Alcman, n. , and n. , Prometheus Bound, n. , and n. n. Alcmaon, – general index Alcmene, –, –, Antoninus Liberalis, , , n. , , , Anu, –, , –, –, aoidos see singer Alcyone, , , , aorist, , –, Alexander Aetolus, , n. apate, ; personified, Alexander the Great, n. , Aphrodite, , , n. , and n. , n. , and n. , -
Stories of the Ancient Greeks the Gods of Greece Stories of the Ancient Greeks
STORIES OF THE ANCIENT GREEKS THE GODS OF GREECE STORIES OF THE ANCIENT GREEKS BY CHARLES D. SHAW illustrated by GEORGE A. HARKER YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republi cation of the work originally published by Ginn and Company in 1903. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hun dreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-269-X ISBN-13: 978-1-59915-269-1 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE The tales in this book are old; some of them, it may be, are even older than we suppose. But there is always a new generation to whom the ancient stories must be told; and the author has spent pleasant hours in trying to retell some of them for the boys and girls of to-day. He remembers what joy it was to him to read about the Greek gods and heroes; and he knows that life has been brighter to him ever since because of the knowledge thus gained and the fancies thus kindled. It is his hope to brighten, if possible, other young lives by repeating for them the immortal fi ctions and the deathless histories which have been delivered to new audiences for thousands of years. -
The Fragmentation of Being and the Path Beyond the Void 2185 Copyright 1994 Kent D
DRAFT Fragment 48 THE HOUSE OF BAAL Next we will consider the house of Baal who is the twin of Agenor. Agenor means the “manly,” whereas Baal means “lord.” In Baal is Belus. Within the Judeo- Christian religious tradition, Baal is the archetypal adversary to the God of the Old Testament. No strange god, however, is depicted more wicked, immoral and abominable than the storm god Ba’al Hadad, whose cult appears to have been a great rival to Yahwism at certain times in Israel’s history. In the bible we read how the prophets of Ba’al and Yahweh persecuted and killed one another, and how the kings of Israel wavered in their attitudes to these gods, thereby provoking the jealousy of Yahweh who tolerated no other god beside him. Thus, it appears that the worship of Ba’al Hadad was a greater threat to Yahwism than that of any other god, and this fact, perhaps more than the actual character of the Ba’al cult, may be the reason for the Hebrew aversion against it. The Fragmentation of Being and The Path Beyond The Void 2185 Copyright 1994 Kent D. Palmer. All rights reserved. Not for distribution. THE HOUSE OF BAAL Whereas Ba’al became hated by the true Yahwist, Yahweh was the national god of Israel to whose glory the Hebrew Bible is written. Yahweh is also called El. That El is a proper name and not only the appelative, meaning “god” is proven by several passages in the Bible. According to the Genesis account, El revealed himself to Abraham and led him into Canaan where not only Abraham and his family worshiped El, but also the Canaanites themselves. -
The Return of Handel's Giove in Argo
GEORGE FRIDERIC HANDEL 1685-1759 Giove in Argo Jupiter in Argos Opera in Three Acts Libretto by Antonio Maria Lucchini First performed at the King’s Theatre, London, 1 May 1739 hwv a14 Reconstructed with additional recitatives by John H. Roberts Arete (Giove) Anicio Zorzi Giustiniani tenor Iside Ann Hallenberg mezzo-soprano Erasto (Osiri) Vito Priante bass Diana Theodora Baka mezzo-soprano Calisto Karina Gauvin soprano Licaone Johannes Weisser baritone IL COMPLESSO BAROCCO Alan Curtis direction 2 Ouverture 1 Largo – Allegro (3:30) 1 2 A tempo di Bourrée (1:29) ATTO PRIMO 3 Coro Care selve, date al cor (2:01) 4 Recitativo: Licaone Imbelli Dei! (0:48) 5 Aria: Licaone Affanno tiranno (3:56) 6 Coro Oh quanto bella gloria (3:20) 7 Recitativo: Diana Della gran caccia, o fide (0:45) 8 Aria: Diana Non ingannarmi, cara speranza (7:18) 9 Coro Oh quanto bella gloria (1:12) 10 Aria: Iside Deh! m’aiutate, o Dei (2:34) 11 Recitativo: Iside Fra il silenzio di queste ombrose selve (1:01) 12 Arioso: Iside Vieni, vieni, o de’ viventi (1:08) 13 Recitativo: Arete Iside qui, fra dolce sonno immersa? (0:23) 14 Aria: Arete Deh! v’aprite, o luci belle (3:38) 15 Recitativo: Iside, Arete Olà? Chi mi soccorre? (1:39) 16 Aria: Iside Taci, e spera (3:39) 17 Arioso: Calisto Tutta raccolta ancor (2:03) 18 Recitativo: Calisto, Erasto Abbi, pietoso Cielo (1:52) 19 Aria: Calisto Lascia la spina (2:43) 20 Recitativo: Erasto, Arete Credo che quella bella (1:23) 21 Aria: Arete Semplicetto! a donna credi? (6:11) 22 Recitativo: Erasto Che intesi mai? (0:23) 23 Aria: Erasto -
Ancient Socialism
Baldwin 5/19/06 8:36 PM Page 59 59 Ancient I dedicate this essay to the memory of Ken Coates, scholarly Socialist and quite the Socialism best man I ever knew. More another time on Marxism and the Classics; just one sample here to kick off. Robert Service’s biography of Lenin suggests he ‘first learned from Barry Baldwin Demosthenes how to discern a crack in the wall of an opponent’s argument and prise it open’. A nice link here with Ken Coates’ last Spokesman editorial (no.109), which twice ironically applies the Greek democrat orator’s name to David Laws. Homer’s Iliad has literature’s earliest articulate squaddie. Thersites lambastes Agamemnon for filching the best loot from rank-and-filers who do the fighting and dying, urging his comrades to pack up and go home ‘that he may see how completely he depends on the men’. Since the Iliad was geared to aristocratic audiences, Thersites – ‘ugliest man in the army’ – can’t win. While Agamemnon stands gob-smacked, Odysseus simply knocks the humpbacked agitator down. But, it is notable that the poet felt bound to include this bolshie private to challenge the Greek army brass. In the Odyssey, though, our hero looms paternalistic. The shepherd Eumaeus confidently expects a retirement pension of The author is Emeritus land, cottage, and woman from his grateful Professor of Classics at lord – mutatis mutandis, the Upstairs the University of Calgary Downstairs ethic. Primitive feminism is in Canada. He studied in also adumbrated: Queens Penelope and Nottingham during the Arete both wield philanthropic influence 1950s. -
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. -
Keith Jarrett's Spiritual Beliefs Through a Gurdjieffian Lens
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Channelling the Creative: Keith Jarrett’s Spiritual Beliefs Through a Gurdjieffian Lens Johanna Petsche Introduction The elusive nature of the creative process in art has remained a puzzling phenomenon for artists and their audiences. What happens to an inspired artist in the moment of creation and where that inspiration comes from are questions that prompt many artists to explain the process as spiritual or mystical, describing their experiences as ‘channelling the divine’, ‘tapping into a greater reality’, or being visited or played by their ‘muse’. Pianist and improviser Keith Jarrett (b.1945) frequently explains the creative process in this way and this is nowhere more evident than in discussions on his wholly improvised solo concerts. Jarrett explains these massive feats of creativity in terms of an ability to ‘channel’ or ‘surrender to’ a source of inspiration, which he ambiguously designates the ‘ongoing harmony’, the ‘Creative’, and the ‘Divine Will’. These accounts are freely expressed in interviews and album liner notes, and are thus highly accessible to his audiences. Jarrett’s mystical accounts of the creative process, his incredible improvisatory abilities, and other key elements come together to create the strange aura of mystery that surrounds his notorious solo concerts. This paper will demystify Jarrett’s spiritual beliefs on the creative process by considering them within a Gurdjieffian context. This will allow for a much deeper understanding of Jarrett’s cryptic statements on creativity, and his idiosyncratic behaviour during the solo concerts. -
Preliminary Studies on the Scholia to Euripides
Preliminary Studies on the Scholia to Euripides CALIFORNIA CLASSICAL STUDIES NUMBER 6 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrologi- cal and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) is supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Metaphys- ics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 PRELIMINARY STUDIES ON THE SCHOLIA TO EURIPIDES Donald J. Mastronarde CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2017 by Donald J. Mastronarde. California Classical Studies c/o Department of Classics University of California Berkeley, California 94720–2520 USA http://calclassicalstudies.org email: [email protected] ISBN 9781939926104 Library of Congress Control Number: 2017916025 CONTENTS Preface vii Acknowledgments xi Abbreviations xiii Sigla for Manuscripts of Euripides xvii List of Plates xxix 1.