Hesperides (1648)
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Victorian Paintings Anne-Florence Gillard-Estrada
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings. Polysèmes, Société des amis d’inter-textes (SAIT), 2016, L’or et l’art, 10.4000/polysemes.860. hal-02092857 HAL Id: hal-02092857 https://hal-normandie-univ.archives-ouvertes.fr/hal-02092857 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian Paintings This article proposes to examine the treatment of Greek myths of the golden apples in paintings by late-Victorian artists then categorized in contemporary reception as “classical” or “classic.” These terms recur in many reviews published in periodicals.1 The artists concerned were trained in the academic and neoclassical Continental tradition, and they turned to Antiquity for their forms and subjects. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Greek Mythology and Genesis
Greek Mythology and Genesis Agenda • Overview of Early Genesis • World Cultures and Early Genesis • Greek Art/Greek Mythology – Noah/Nereus in Greek Art – Herakles/Nimrod – Zeus/Adam – Athena/Naamah • East Pediment of Parthenon – Understanding – Characters 2 Genesis (1-10) • Days of Creation (resting on the 7th) • The Creation of Adam and Eve • The Fall of Man • Cain and Abel – Cain’s descendants • Descendants of Adam • The Corruption of Mankind • The Flood • The Flood Subsides • Covenant of the Rainbow • Descendants of Noah – Shem – Japheth – Ham -Cush -Nimrod 3 Genesis in Cultures from Around the World Sagaiye Ottawa Lake of Llion Shang Ti Choctaw Gilgamesh Santal Tanzania Inca (Peru) Bunjil 4 ADAM AND EVE (ZEUS AND HERA) KAIN SETH (ARES) (HEPHAISTOS) Noah (Nereus) 5 ZEUS HERA Noah to Nimrod Shem Japheth 6 7 Did the Greeks Know Who Noah Was? 8 9 10 11 Noah’s Flood 12 13 HERAKLES’ REBELLION AGAINST NOAH 14 On this vase-painting, Herakles threatens Noah with his club. 15 Here, Herakles pushes Noah aside. And here, the vase-artist depicts Herakles bringing Noah and his rule to a halt. 16 17 18 Herakles’ first 11 labors and his other battles all had one objective—embodied in his 12th and final labor—getting back to the serpent-entwined tree in the ancient garden for another bite of 19 the serpent’s apple. Athena Nereus Kentaur Herakles 20 And Athena rewarded the great hero after he had pushed Noah and his God out of the picture and reestablished the way of Kain. 21 12 Labors of Herakles Temple of Zeus 22 Herakles Herakles Athena Geryon Atlas 23 Zeus/Adam at Olympia 24 Parthenon 26 27 • Displays the Greek ―story‖ of Genesis • Man’s ―triumph‖ over God • Reflection of Eden • Triumph of the Serpent • Deifies real people of history 28 29 30 31 Chrysothemis Lipara Hygeia Asterope The Greek poets and playwrights traced Zeus and Hera back to an ancient paradise they called the Garden of the Hesperides. -
HESPERIDES and HEROES: a NOTE on the THREE-FIGURE RELIEFS 77 Knife, That This Is a Moment of Dark Foreboding
HESPERIDESAND HEROES: A NOTE ON THE THREE-FIGURERELIEFS (PLATES 11-14) flflHOUGH not a scrap of the original reliefs has been found, Thompson's attri- bution to the Altar of the Twelve Gods of the four famous three-figure reliefs known to us from Roman copies is one of the more important results of the Agora excavations for the history of Athenian sculpture in the late 5th century.1 The dating and interpretation of these reliefs is also vitally related to the history of other monu- ments of the Agora. I should like, therefore, to suggest a modification of Thompson's views on these points. Before Thompson's discovery that the dimensions of the reliefs admirably filled the spaces flanking the east and west entrances in the parapet surrounding the altar (P1. 12, b), the originals had generally been attributed to a choregic monument. This was because two of the reliefs, the Orpheus and Peliad reliefs (P1. 12, d, e), are notably tragic in their impact, including the elements of irony and reversal of fortune which we commonly associate with Attic tragedy. The two others, Herakles, Theseus and Peirithoos in the underworld (P1. 12, a, c) and Herakles in the Garden of the Hesperides (P1. 11, a-d), could also well be drawn from the subjects of tragedies performed in Athens.2 In order to interpret the last two in the same spirit as the first two, however, it was necessary to resort to the subtle language of literary interpretation rather than to the simpler language of art. No one could doubt, on looking at the Peliad with the " ' The Altar of Pity in the Athenian Agora," Hesperia, XXI, 1952, pp. -
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. -
Greek and Roman Mythology in the Classroom
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1983 Volume II: Greek and Roman Mythology Greek and Roman Mythology in the Classroom Curriculum Unit 83.02.11 by Irma E. Garcia The purpose of this study is to supplement the curricula of social and urban studies classes at the secondary level, by introducing Greek and Roman mythology and its influence in contemporary society, as a means to develop or reinforce basic learning skills. The unit is divided in seven main objectives, namely: 1. to increase the student’s vocabulary by introducing readings in Greek and Roman mythology. 2. to reinforce or develop comprehension skills. 3. to encourage students to become more observant and appreciative of the world around them, especially the influence of mythology in the world today. 4. to help students gain further understanding of the process of decision by representation by utilizing an exercise where Greek and Roman mythology is introduced. 5. to encourage the students to make use of library facilities. 6. development and reinforcement of map skill through mythology. 7. to pinpoint the way sex role stereotypes are conceptualized by the Greeks and Romans in mythology. This study will not involve poetical analysis, but because of the highly motivational content of Greek and Roman mythology, it will be a means to understand how society works and has worked for a very long time, at the same time basic skills are developed or reinforced. It should be made clear that in mythology, including Greek and Roman mythology, the myths were expressions of the fears, problems, and aspirations that man have had for generations that gradually in Curriculum Unit 83.02.11 1 of 14 human history took on external reality in the form of myths; and that mouth for a long time, before they were put in written form. -
Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS
Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS Apples appear throughout numerous world religions and mythologies as a common symbol and motif. It is important to note though that in Middle English as late as the 17th century, the word ‘apple’ was used as a generic term to describe all fruit other than berries, so the appearance of apples in ancient writings may not actually be the apples known today. The etymology of 'apple' is an interesting one. That aside, Greek mythology presents several notable apples: the Golden Apples in the Garden of Hesperides, different golden apples associated with Atalanta, and of course the golden Apple of Discord. Each appearance of apples presents unique examples of symbolism. The Golden Apples in the Garden of Hesperides were a wedding gift to Hera from Gaia and were protected by a great serpent called Ladon. The Apples as well as the rest of the life in the Garden were tended by the Hesperides, minor earth goddesses or nymphs and daughters of the Titan, Atlas. The Garden itself rested in an inaccessible spot near the edge of the world under the power of the Olympians. For his Eleventh Labor, Hercules was sent to the Garden to retrieve three Golden Apples for King Eurystheus. The exact location of the Garden and the Apples was unknown and Hercules had to pry the information from Nereus, the Old Man of the Sea. Along the way, he also encountered and freed Prometheus who told not to try pick the Golden Apples himself, but to ask Atlas. -
Atlas (Mythology) from Wikipedia, the Free Encyclopedia
AAttllaas ((mmyytthhoollooggyy) - WWiikkiippeeddiiaa, tthhe ffrreee eennccyyccllooppeeddiiaa hhttttpp::////eenn..wwiikkiippeeddiiaa..oorrgg//wwiikkii//AAttllaass__((mmyytthhoollooggyy)) Atlas (mythology) From Wikipedia, the free encyclopedia InIn Greek mythologygy,, Atlas (/ˈætləs/; Ancient Greek: Ἄτλας) was the primordial Titan who held up thehe celestialal Atlas spheres. He is also the titan of astronomy and navigation. Although associated with various places, he became commonly identified with the Atlas Mountains in northwest Africa (Modern-day Morocco, Algeria and Tunisia).[1][1] Atlas was the son of the Titanan Iapetus and the Oceanidd Asiaa[2][2] or or ClClymene..[3][3] In contexts where a Titan and a Titaness are assigned each of the seven planetary powers, Atlas is paired with Phoebe and governs the moon..[4][4] Hyginus emphasises the primordial nature of Atlas by making him the son of Aether andd Gaia.a.[5][5] The first part of the term Atlantic Ocean refers to "Sea of Atlas", the term Atlantis refers to "island of Atlas". Titan of Astronomy Abode WWestern edge ofof Gaia (thethe Earth)) Contents Symbol Globe 11 EtEtymolologygy Parents Iapetus and Asia or Clymenee 22 Puninishmenentt Children Hesperides,s, Hyades,s, Hyas, Pleiades, Calypso,so, Dione and 2.1 VVariations Maera 33 Encounter with Heracleses Roman equivalent Atlas 44 Etruscan Arill 55 Chilildrdrenen 66 Cultural influencece 77 SeSee alalsoso 88 NNototeses 99 References 1010 External linkss Etymology The etymology of the name Atlas is uncertain. Virgil took pleasure in translating etymologies of Greek names by combining them with adjectives that explained them: for Atlas his adjective is durus, "hard, enduring",[6][6] which suggested to George Doig[7][7] that Virgil was aware of the Greek τλῆναι "to endure"; Doig offers the further possibility that Virgil was aware of Strabo’s remark that the native North African name for this mountain was Douris. -
Creatures and Monsters from Greek Mythology the HEROES Are
Creatures and Monsters from Greek Mythology The HEROES are probably the best-known part of GREEK MYTHOLOGY, but what makes a hero? Having monsters to fight, that's what. Luckily for the heroes, the Ancient Greeks had the strangest, coolest, most terrifying creatures & monsters mythology had to offer ranging from Dragons, Giants, Demons and Ghosts, to multi-formed creatures such as the Sphinx, MINOTAUR, CENTAURS, Manticores & CHIMAERA. There were also many fabulous animals such as the Nemean Lion, golden-fleeced Ram and the winged horse PEGASUS, not to mention the creatures of legend such as the Phoenix, the Griffin and Unicorns. In this section, you'll learn interesting facts and information about the many creatures and monsters of ancient Greek mythology Children of Typhon Many of the great Greek monsters were descendants of TYPHON, the most deadly monster of Greek mythology. Typhon was the last son of GAIA, fathered by Tartarus, he was known as the “Father of All Monsters”. Instead of a human head, a hundred dragon heads erupted from Typhon's neck and shoulders. His wife ECHIDNA, half woman half snake, was likewise the “Mother of All Monsters.” Together, Echidna and Typhon raised some of the most well known monsters and creatures in all mythology. Orthrus- A fearsome two-headed hound that lived with giants Sphinx- A half human, half lion who would slay anybody who did not answer her riddles. When Oedipus was able to answer a riddle correctly, she jumped into the ocean in a fit of rage and drowned. Nemean Lion- A gigantic lion with impenetrable skin that eventually became the star constellation Leo. -
The Realm of Nymphs
MUSEUM FRIDAY FEATURE The Realm of Nymphs he Olympian gods are well- Tknown to enthusiasts of mythology, but the complete ancient Greek pantheon was astoundingly vast, including thousands of supernatural beings inhabiting the earth, the seas, and the Underworld. Among the most populous of these beings were nymphs, who formed several groups including Oceanids, Nereids, Naiads, Dryads, and Oreads. Their actual numbers were mind-boggling, and ancient authors Anonymous (Italian, 17th century) clearly confused them, with names Sea Deities sometimes overlapping across Ink on paper Gift of Drs. Saul S. and Gladys D. Weinberg in memory of Bernard Weinberg (73.273) groups. The mighty Titan Oceanus, who embodied the great ocean encircling Mother Earth, was said to have sired 3,000 daughters and 3,000 sons (by one goddess, unbelievably). Some authors associated Oceanus’ daughters with saltwater, while others implied that they inhabited freshwater as well, making them overlap with Naiads. In his Theogony, our requisite go-to for origins of Greek gods, Hesiod gave up after naming only forty- one Oceanids, and summed up by saying they were “dispersed far and wide.” We might be grateful that no ancient Greek author set about to name all 3,000 Oceanids, but a few were significant. Metis was the actual mother of Athena, but Zeus swallowed her before she could give birth, fearing that she would bear a son more powerful than he. Athena thus sprung out of Zeus rather than out of Metis. Doris, wife of the ancient sea god Nereus, gave birth to fifty daughters known as the Nereids. -
Plato's Orpheus: the Philosophical Appropriation of Orphic Formulae
University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations 6-9-2016 Plato's Orpheus: The hiP losophical Appropriation of Orphic Formulae Dannu Hütwohl Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Recommended Citation Hütwohl, Dannu. "Plato's Orpheus: The hiP losophical Appropriation of Orphic Formulae." (2016). https://digitalrepository.unm.edu/fll_etds/20 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Dannu J. Hutwohl Foreign Languages and Literatures Professor Lorenzo F. Garcia Jr. Professor Monica S. Cyrino Professor Osman Umurhan by THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of The University of New Mexico Albuquerque, New Mexico Acknowledgements I wish to extend a heart felt thanks to all the members of my thesis committee, without whom this project would not have been possible: first and foremost to my brilliant and inspiring advisor and mentor, Dr. Lorenzo F. Garcia Jr., for your endless patience, wisdom, and dedication; Just as the Orphic initiates would have been lost in the darkness of the Underworld without the help of their Gold Tablets, so too would I have been lost in this undertaking without the illuminating light of your golden advice. To Dr. Monica S. Cyrino, for your incredible editing skills and for always believing in and supporting me over the years in countless ways; Just as Demeter moved heaven and earth for Persephone, so too have you nurtured and championed my research. -
Heracles and the Foundings of Sparta and Rome
Heracles and the Foundings of Sparta and Rome A Thesis by Nicholas Granitz Advised by Dr. Edith Foster Assisted by Drs. Burkett and Levithan In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts and the Ashbrook Statesmanship Thesis and Honors Capstone Project Ashland University, Ashland, Ohio 2011 Submitted November 29th, 2011 Nicholas Granitz Abstract This thesis finds that both the Spartans and the Romans consciously adopted Heracles as a model for their societies. This adoption is seen both through their historical actions and, especially, in their founding myths, which identify the city’s founders with Heracles. Although the argument relies on previous scholarly work interpreting the character of Heracles, several connections, especially those in the Sparta chapter, are original arguments for Heracles’ relevance in founding mythology. A close analysis of the Twelve Labors of Heracles is the foundation for my arguments. The analysis of Sparta relies on the works of Tyrtaeus, Herodotus, Thucydides, Xenophon, and Plutarch. The analysis of Rome relies on the works of Fabius Pictor, Virgil, Livy, and Plutarch. Secondary sources were also important, especially the writings of G. Karl Galinsky, whose work is influential throughout the thesis. 2 Nicholas Granitz Table of Contents Introduction 04 Chapter One: Heracles 07 Chapter Two: Sparta and Heracles 37 Chapter Three: Rome and Hercules 55 Conclusion 71 Works Cited 77 I am indebted to Dr. Edith Foster, Dr. Chris Burkett, and my family and friends for making the completion of this thesis possible. Thank you. 3 Nicholas Granitz Introduction Heracles and the Foundings of Sparta and Rome Greek and Roman polytheism was an influential cultural force in the ancient world, ingrained in every facet of ancient life.