The Quest for Theseus

Total Page:16

File Type:pdf, Size:1020Kb

The Quest for Theseus THE QUEST FOR THESEUS The Plane Tree Of Gortyn: Here Zeus is said to have raped Europa Daedalus, Pasiphae and the Wooden Cow: A representation of the story from a Roman fresco in Pompeii “The Minos Family” -Erika Meriaux Ariadne gives her famous clew to Theseus to aid him in his quest Theseus defeats the Minotaur as Athena watches: A kylix from c. 420 BCE Theseus is summoned away from a sleeping Ariadne on Naxos: Details of a red-figure vase from Taranto The Francois Vase (c. 570 BCE): This scene was long interpreted as a representation of the original Crane Dance (Geranos) celebration on the island of Delos. Although the picture does depict the Theseus myth (the characters are labelled on the vase), it probably portrays the arrival of Theseus on Crete. King Aegeus, waiting at Cape Sounion, sees the black sail of the returning ship Frederick Leighton, “Daedalus and Icarus” (ca. 1869) Pieter Bruegel, “Landscape With The Fall Of Icarus” The reconstructed Palace at Knossos The Lions Gate at Mycenae The two sons of Theseus, Demophon and Acamas, are shown escorting their aged grandmothers from Troy. (Red-figured wine bowl c. 490 BCE) The small island of Dia just off the northeast coast of Crete: Here, says Homer, Artemis killed Ariadne The Sacrifice of Iphigenia as represented in a fresco from Pompeii The History Of The Minotaur by Cassone (16th century) 1) King Minos is assumed to sacrifice the white bull of Poseidon 2) Minos decides to sacrifice another bull 3) The ritual of sacrifice to the gods 4 & 5) Poseidon causes Pasiphae to fall in love with the bull of Poseidon Pasiphae And The Minotaur (a kylix, 340-320 BCE, Vulci) Theseus pursues Helen “Theseus And The Minotaur,” Antonio Canova Europa rides Zeus as bull outside the European Parliament in Strasbourg INTERPRETATIONS OF LABYRINTH MYTH 1) A civilizational parable: The forces of light and order triumphs over darkness and bestiality. 2) A symbolic representation of the historic movement of people and transfer of ideas, culture and civilization from the Near East to Crete and Europe 3) A symbolic representation of the fall of Minoan civilization and the rise of Mycenaean civilization. 3a) A founding myth for Athens. Julie Bell, “Bacchus and Ariadne” Antoine-Louis Barye, “Theseus” INTERPRETATIONS OF LABYRINTH MYTH 4) A myth in which a civilizational balance between male and female is replaced by a patriarchal hierarchy 5) A symbolic representation of journey within to explore one’s own psyche 6) A disguised Freudian wish-fulfilment in which the young man kills the symbol of his father (and perhaps also beds a symbol of his mother) 7) A contested Athenian story that is both promoted and changed with specific political reasons The Mare Nostrum: Our hotel in Vravrona The Deeds Of Theseus (An Attic red-figured kylix, ca. 440-430 BCE) Theseus with Aethra The stone of Troezen is lifted and Theseus’ destiny revealed Theseus triumphs over Periphetes Theseus dispatches Sinis Theseus and Perigune: The corpse of Sinis is in the background Theseus and Sinis the Pine- Bender: A kylix from c. 490-480 BCE Theseus and Phaia, the Crommyonian Sow The cliffs near the lair of the robber Sciron Theseus turns Sciron into soup for a turtle Theseus meets Procrustes “Do I have a bed for one extra North Island College student? . Why, yes I do.” Theseus cuts Procrustes down to size In the vicinity of Agios Savvas Church on the north side of the Sacred Way King Aegeus and Medea with Theseus in Athens Theseus captures the Bull of Marathon and drags it to the Acropolis Theseus greets the refugee Oedipus just north of Athens Theseus carries off the Amazonian queen Antiope (A sculpture from Eretria, c. 510 BCE) The meeting of Theseus and Pirithous The wedding of Pirithous and Hippodamia Apollo, Theseus and Centaur from the west pediment of the Temple of Zeus at Olympia Theseus abducts a young Helen from Sparta The Dioscuri: Helen’s twin brothers Castor and Pollux Theseus is chained in Tartarus while Cerberus tears at Pirithous Theseus rescued from Hades by Heracles According to myth, an elderly Theseus was thrown from the cliff of Skyros Town to his death. A Mycenaean tholos tomb The remains of the megaron at Mycenae BROAD PHASES IN DEVELOPMENT OF THE THESEUS MYTH 1) ARCHAIC ERA • Before last part of sixth century BCE • Limited number of artistic and literary representations 2) CLASSICAL ERA • From late sixth century to fall of Athens in 404 BCE • Myth is fully attested • Theseus clearly has become national hero of Athens 3) 404 BCE - PRESENT • Continual study and reinterpretation of the myth by historians, writers, artists and others A 19th-century representation of the poet Homer “Hesiod And The Muse” Gustave Moreau (1891) The lyric poetess Sappho Band-cup by Archikles and Glaukytes (c. 540 BCE): Theseus kills The Minotaur. Athena, lyre in hand, is present to encourage Theseus. Ariadne holds her ball of thread with her nurse beside her. The Athenian youths are portrayed as observers. Francois Vase (c. 570 BCE) Proto-Corinthian arballos of the seventh century BCE showing the Abduction of Helen by Theseus and her rescue by her brothers. The face that launched a thousand ships? Remains of the Walls of Aphidna Theseus abducts Helen (an Attice red-figure amphora, c. 510 BCE) ATHENIAN TIME-LINE 560-338 BCE • 560-546 BCE: Pisistratus consolidates control as tyrant of Athens • 510 BCE: Overthrow of Hippias and the Pisastratids • 508-507: Reforms of Cleisthenes lays foundation for Athenian democracy • 493: Themistocles begins building harbor at Piraeus • 490: Persian invasion of Greece: Battle of Marathon • 480-79: Second Persian invasion: Thermopylae, Burning of Acropolis, Salamis • 477: Athens founds Delian League • 461-429: Pericles is such a preeminent politician that the period itself is commonly called the “Age of Pericles” • 431-404: Second Peloponnesian War – Athens vs. Sparta • 429: Death of Pericles from the plague • 404: Surrender of Athens • 399: Death of Socrates for corrupting the young • 338: Philip of Macedon crushes the Athenians at the Battle of Chaeronea in Boeotia Pisistratus rides into Athens accompanied by a tall woman dressed as Athena An artist’s representation of the Panathenaia, the Athenian festival that Pisistratus both revised and expanded. Pnyx Hill: The Birth-place of Democracy A sculpture of Cimon from the island of Cyprus (510-450 BCE) The remains of a Mycenaean-era tholos tomb on Skyros The Hephaeisteion, long mis-identified as the Theseum, stands in the shadow of the Acropolis in an old photograph. Theseus carries off the Amazon Antiope with Pirithous. Detail from an Athenian red-figure vase now in the Louvre (c. 490 BCE) Evidence of Cimon’s success in his political struggle with Themistocles. An ostrakon vote against Themistocles. The reconstructed Stoa Poikile in Athens Theseus fights The Minotaur on the southern side of the Athenian Treasury Theseus fights with Skiron in an Athenian Treasury metope Theseus and Antiope in a representation of the Amazonomachy at Delphi Metopes of the AthenianTreasury at Delphi 1-8: Adventures of Theseus 9-14: Amazons fighting 15-22: Adventures of Heracles 23-27: Heracles and Geryon Phidias’ statue of Athena Parthenos (A re-creation on view at the Parthenon in . Nashville) A copy of the shield of Athena Parthenos with Theseus at its centre The view towards the Hephaeisteion from the Acropolis A portion of west frieze of the Hephaeisteion The drinking cup of Phidias The statue of Zeus at Olympia Heracles, driven mad by Hera, kills his own children TRAGEDIES THAT INCLUDE THESEUS AS A MAIN CHARACTER • Euripides, Hippolytus (428 BCE) • Euripides, Suppliant Women (423 BCE) • Euripides, Heracles Driven Mad (c. 422BCE) • Sophocles, Oedipus At Colonus (c. 406 BCE) CULT OF THESEUS SANCTUARIES • Theseion • Colonus • Piraeus • Western suburbs FESTIVALS • Oschophoria • Theseia It has recently been argued that this scene from the ruins of Herculaneum may represent not the Dionysian Festival but rather the Oschophoria. A mosaic portraying Theseus from Paphos, the sacred site of Aphrodite on Cyprus Theseus, Antiope and their son Hippolytus. It is an adult Hippolytus who is featured in the Euripides play. “Phaedra,” Alexandre Cabanel (1880): A late 19th-century representation of the former Minoan princess as suicidal. The death of Hippolytus – Another bull from the sea! Gaia presents Erechtheus to Athena Paris Bordone, “Athena Scorning the Advances of Hephaestus” (1555-1560) “Discovery of the Child Erechtheus,” Pieter Paul Rubens (c. 1615) The Erechtheum on the Acropolis The Ruins Of Troezen Today The Decree Of Themistocles Theseus is welcomed beneath the sea by his stepmother Amphitrite Oedipus goes into exile with his daughter Antigone .
Recommended publications
  • Herakles and Theseus
    ! Commonwealth of Australia Copyright Act 1968 Warning This material has been copied and communicated to you by or on behalf of La Trobe University under Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. ! MDS2/3 TGW Ancient Greece Athenian Heroes: Herakles and Theseus Heather Sebo Gillian Shepherd Pitcher: Herakles Wrestling Triton, 520-10 BCE! No ancient author recorded the story of Herakles and Triton. This lack of literary sources for the depiction and the fact that it appears almost exclusively in Athenian art has led some scholars to look for a special meaning in the scene. They argue that the mythological battle may have had political significance for the Athenians. Peisistratos and his sons, may have adopted Herakles as their symbol; and the scene may refer to a naval victory of Athens over her neighboring enemy, the city-state of Megara. ! Image source: http://www.getty.edu/art/gettyguide/artObjectDetails? artobj=109803&handle=li! open content! Herakles and Apollo vying for possession of the Delphic tripod; ! ca. 530 BCE.! Image source: Artstor! Image source: Amphora 530 BCE. Herakles steals Apollo’s tripod! Artstor! The Nemean Lion. Because the creature was invulnerable, Herakles was forced to wrestle with it kill it with his bare hands. Herakles uses the lion’s claws to skin it and wore the lion’s invulnerable hide.! ! The Lernaian Hydra.
    [Show full text]
  • Marathon 2,500 Years Edited by Christopher Carey & Michael Edwards
    MARATHON 2,500 YEARS EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON MARATHON – 2,500 YEARS BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES SUPPLEMENT 124 DIRECTOR & GENERAL EDITOR: JOHN NORTH DIRECTOR OF PUBLICATIONS: RICHARD SIMPSON MARATHON – 2,500 YEARS PROCEEDINGS OF THE MARATHON CONFERENCE 2010 EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON 2013 The cover image shows Persian warriors at Ishtar Gate, from before the fourth century BC. Pergamon Museum/Vorderasiatisches Museum, Berlin. Photo Mohammed Shamma (2003). Used under CC‐BY terms. All rights reserved. This PDF edition published in 2019 First published in print in 2013 This book is published under a Creative Commons Attribution-NonCommercial- NoDerivatives (CC-BY-NC-ND 4.0) license. More information regarding CC licenses is available at http://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN: 978-1-905670-81-9 (2019 PDF edition) DOI: 10.14296/1019.9781905670819 ISBN: 978-1-905670-52-9 (2013 paperback edition) ©2013 Institute of Classical Studies, University of London The right of contributors to be identified as the authors of the work published here has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Designed and typeset at the Institute of Classical Studies TABLE OF CONTENTS Introductory note 1 P. J. Rhodes The battle of Marathon and modern scholarship 3 Christopher Pelling Herodotus’ Marathon 23 Peter Krentz Marathon and the development of the exclusive hoplite phalanx 35 Andrej Petrovic The battle of Marathon in pre-Herodotean sources: on Marathon verse-inscriptions (IG I3 503/504; Seg Lvi 430) 45 V.
    [Show full text]
  • Ritualdynamics
    Originalveröffentlichung in: H.F.J. Horstmanshoff- H.W. Singor- F.T. van Straten - J.H.M. Strubbe (eds.), Kykeon. Studies in Honour of H.S. Versnel, Leiden-Boston-Cologne: Brill 2002, S. 23-48 RITUAL DYNAMICS: THE BOIOTIAN FESTIVAL OF THE DAIDALA ANGELOS CHANIOTIS 1. Sources and puzzles In Turkish folkore Nasreddin Hoca is a representative of populär wisdom; his stories are well-known in Greece as well. One of them goes as follows: Nasreddin Hoca had been appointed as a judge in a dispute between two men. After the plaintiff had presented his case, Nasreddin Hoca looked at him and said: 'You are right'. Then it was the defendant's turn to present his argument and, again, Hoca's response was the same: 'You are right'. Thereupon one of the on- lookers at the trial turned to Hoca and said: 'You are the judge; you have to pass a judgment now'. Hoca looked at him calmly and an- swered: 'You are right, too'. Whenever I heard this story as a child, I laughed, but at the same time I was puzzled about its meaning. I still am, but I can not help thinking of this story whenever I read different interpretations of the same Greek festival. Of course, not everyone is right, but there is hardly any study which does not offer a new interesting insight. I also could not help thinking of Hoca's story again, when I read the jacket of the second volume of the Inconsistencies in Greek and Roman Religion. There, Henk Versnel expresses his conviction 'that the three approaches to religion known as "sub- stantivistic", functionalist and cultural-symbolic respectively, need not be mutually exclusive.' If I have chosen such a puzzling festival as the Daidala for this paper in honor of Henk Versnel, it is because I think that it pre- sents an interesting case of a ritual, in the study of which different interpretative approaches are not mutually exclusive or contradic- tory, but complementary.
    [Show full text]
  • The Art and Archaeology of Ancient Greece Judith M
    Cambridge University Press 978-1-107-00123-7 - The Art and Archaeology of Ancient Greece Judith M. Barringer Frontmatter More information The Art and This richly illustrated, color textbook introduces the art and Archaeology of archaeology of ancient Greece, from the Bronze Age through the Roman conquest. Suitable for students with no prior knowledge of Ancient Greece ancient art, this book reviews the main objects and monuments of the ancient Greek world, emphasizing the context and function of these artefacts in their particular place and time. Students are led to a rich understanding of how objects were meant to be perceived, what “messages” they transmitted, and how the surrounding environment shaped their meaning. The book includes more than 500 illustrations (with over 400 in color), including specially commissioned photographs, maps, fl oorplans, and reconstructions. Judith Barringer examines a variety of media, including marble and bronze sculpture, public and domestic architecture, painted vases, coins, mosaics, terracotta fi gurines, reliefs, jewelry, armor, and wall paintings. Numerous text boxes, chapter summaries, and timelines, complemented by a detailed glossary, support student learning. • More than 500 illustrations, with over 400 in color, including specially commissioned photographs, maps, plans, and reconstructions • Includes text boxes, chapter summaries and timelines, and detailed glossary • Looks at Greek art from the perspectives of both art history and archaeology, giving students an understanding of the historical and everyday context of art objects Judith M. Barringer is Professor of Greek Art and Archaeology in Classics at the University of Edinburgh. Her areas of specialization are Greek art and archaeology and Greek history, myth, and religion.
    [Show full text]
  • A Companion to Greek Religion
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Kernos Revue internationale et pluridisciplinaire de religion grecque antique 21 | 2008 Varia Daniel OGDEN (ed.), A Companion to Greek Religion Joannis Mylonopoulos Electronic version URL: http://journals.openedition.org/kernos/1683 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2008 ISSN: 0776-3824 Electronic reference Joannis Mylonopoulos, « Daniel OGDEN (ed.), A Companion to Greek Religion », Kernos [Online], 21 | 2008, Online since 15 September 2011, connection on 21 April 2019. URL : http:// journals.openedition.org/kernos/1683 Kernos RevuedesL vres 319 2. Comptes rendus et notices 1i1liogr phiques Dan elO8DEN(ed.),A Companion to ree) Religion,Oxford,BlackEell,2007.1 vol.18×2Icm,097p.(Blac)well Companions to the Ancient.orld).ISBN:978+1+ 00I1+20I0+8. Recent scholarsh p n the f eld of Class cs s def n tely dom nated by compan ons, ntroduct ons,asEellasEinf-hrungen tol terallyalmosteveryth ng,and t sleg t matetoask hoEnecessarytheyreallyare,EhethertheyaddneE ns ghtstoourknoEledge,ordothey s mplyrepresenttheproductofaneEscholarlyfast+food+era?Itshouldbestressedfrom theverybeg nn ngthatth sneEcompan oncerta nlydoesnotbelongtothelastcategory, for the sheer Qcollect onR of renoEned contr butors guarantees the h ghest standards. Nevertheless,already nh s ntroductorynote,theed torrevealsthebook’smost mportant Eeakness2 although Ee may or may not agree
    [Show full text]
  • 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.
    [Show full text]
  • Zeus Temple at Olympia ROSS HOLLOWAY, R
    Panhellenism in the Sculptures of the Zeus Temple at Olympia ROSS HOLLOWAY, R. Greek, Roman and Byzantine Studies; Summer 1967; 8, 2; ProQuest pg. 93 Panhellenism in the Sculptures of the Zeus Temple at Olympia R. Ross Holloway REEK ARCHITECTURAL SCULPTURE in stone is as old as the Greek G stone temple. By the early fifth century B.C. the Greeks had also developed the idea of programmatic design in archi­ tectural sculpture. The thematic connections were simple and concrete. The metopes ofthe Athenian Treasury at Delphi, for example, present the comparison of the labors of Herakles and of Theseus. At Aigina the program occupying the pediments of the Aphaia Temple consisted of scenes from the two Greek expeditions against Troy. A century later, however, thematic planning of architectural sculp­ ture had moved far beyond such simple and obvious programs and could be conceived with connections that were more suggestive and abstract than declarative and concrete. A case in point is the Nereid Monument at Xanthos in Lycia, a princely tomb designed by a Greek architect and decorated by Greek artists at the beginning of the fourth century B.C. As interpreted by Panofsky,l the frieze of the podium combines scenes from the career of the owner of the tomb with mythical scenes meant to reflect that career on an heroic plane. In the colonnade celestial abstractions suggest a benevolent atmosphere. A final motive of apotheosis is expressed by figures of the Dioskouroi in the pediments. The century between the Aphaia Temple and the Nereid Monu­ ment saw the design and execution of the monumental architectural sculpture of the high classical age.
    [Show full text]
  • The Amazon Myth in Western Literature. Bruce Robert Magee Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 The Amazon Myth in Western Literature. Bruce Robert Magee Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Magee, Bruce Robert, "The Amazon Myth in Western Literature." (1996). LSU Historical Dissertations and Theses. 6262. https://digitalcommons.lsu.edu/gradschool_disstheses/6262 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the tmct directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Working Paper, Not for Distribution Without Permission of the Author
    Working paper, not for distribution without permission of the author. Tonio Hölscher: Myths, Images, and the Typology of Identities in Early Greek Art 1. Identity: Problems with a modern concept in present times and in the past ‘Identity’, in its double sense as an individual and a collective concept, has since the 1970es become a key term of discourse on historical as well as contemporary societies. The notion of ‘identity’ is not only used as a descriptive category of historical and sociological analysis but is also, and above all, asserted as a legitimate claim of individual and collective entities: Individual persons as well as social groups or national populations claim the right to live according to, and to fight for their identity. In the context of this conference, it is the aspect of collective identity I am going to focus on. Nobody will deny the importance of the concept of collective identity: Communities cannot exist without a conscious or unconscious definition of what they are. That is how they can identify themselves. Nor will anybody on principle contest the right of communities to cultivate and defend their identity: We concede this right to the Greeks in their fight against the Persians as well as to contemporary peoples that are suppressed by superpowers or threatened by foreign enemies. But on the other hand, it is also evident that such emphasis on identity is anything but innocent. For there can be no doubt that during the last generation the increasing assertion of collective and national identity has produced an enormous potential of conflicts throughout the world.
    [Show full text]
  • SPECIAL TOURS MYTHOLOGY Gallery of Greek and Roman Casts
    SPECIAL TOURS MYTHOLOGY Gallery of Greek and Roman Casts Battle of the Greeks and Amazons Temple of Apollo at Phigaleia (Bassai) Greek, late 5th c. B.C. The Mausoleion at Halikarnassos Greek, ca. 360-340 B.C. Myth: The Amazons lived in the northern limits of the known world. They were warrior women who fought from horseback usually with bow and arrows, but also with axe and spear. Their shields were crescent shaped. They destroyed the right breast of young Amazons, to facilitate use of the bow. The Attic hero Theseus had joined Herakles on his expedition against them and received the Amazon Antiope (or Hippolyta) as his share of the spoils of war. In revenge, the Amazons invaded Attica. In the subsequent battle Antiope was killed. This battle was represented in a number of works, notably the metopes of the Parthenon and the shield of the Athena Parthenos, the great cult statue by Pheidias that stood in the Parthenon. Symbolically, the battle represents the triumph of civilization over barbarism. Battle of the Gods and Giants Altar of Zeus and Athena, Pergamon (Zeus battling Giants) Greek, ca. 180 B.C. Myth: The giants, born of Earth, threatened Zeus and the other gods, and a fierce struggle ensued, the so-called Gigantomachy, or battle of the gods and giants. The giants were defeated and imprisoned below the earth. This section of the frieze from the altar shows Zeus battling three giants. The myth may reflect an event of prehistory, the arrival ca. 2000 B.C. of Greek- speaking invaders, who brought with them their own gods, whose chief god was Zeus.
    [Show full text]
  • 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.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses Rethinking mythology in Greek museums through contemporary culture Antonopoulou, Marina How to cite: Antonopoulou, Marina (2010) Rethinking mythology in Greek museums through contemporary culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2511/ 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 lml'Hlm:ING MYTHOLOGY IN <mEEK »KUSE{]Ml$ THROUGH CONTEMPORARY ClJL1UllB MARINAANTONOPOULOU Appendices The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. 2 6 MAY 2010 Appendix 1 Socratis Malamas Date: 15/01/2005 Venue: Hotel'Olympia', Thessaloniki. Q: Could you tell me what is the first thing that comes to mind when you hear the words 'Greek mythology'? A: The usual, what we learned in school.
    [Show full text]