DOCSLIB.ORG

Dionysus Atlas 8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dionysus Atlas 8 DIO DIONYSUS ATLAS 8 FORCE OF NATURE BLOCK 10 9 1 2 9 12 FISTS OF THE TITAN BEARER OF HEAVENS PAN ENCELADUS 8 FORCE OF NATURE MIGHTY THROW BLOCK 9 9 1 2 8 11 FURY OF ETNA SEARING HEAT RIS GAIA 8 BOLSTER LEADER BLOCK 8 9 1 3 11 ROOTS STRENGTH OF EARTH RIS KRONOS 8 FORCE OF NATURE MIGHTY THROW BLOCK 8 9 1 2 7 11 SCYTHE TYRANT RIS TYPHON 10 MIGHTY THROW TORMENT BLOCK 10 9 1 3 8 12 PSYCHOPATH TEmpEST RIS ARES 6 MIGHTY THROW INITIATIVE BLOCK 8 9 0 2 5 9 ARES’ WRATH FRENZY COR ZEUS 6 MIGHTY THROW LEADER BLOCK 8 9 0 2 9 9 LIGHTNING PATRIARCH COR APHRODITE 6 CLOSE PROTECTION SNEAK ATTACK BOLSTER 6 8 0 3 8 IRRESISTIBLE VENGEANCE PAN APOLLO 6 MOnsTER SLAYER INITIATIVE BOLSTER 7 8 3 2 6 8 GOLDEN ARROWS LYRE PAN HECATE 6 PHALANX LEADER MOBILITY 7 8 1 2 9 SHOOTING STAR NIGHTMARE SHADOWS BLACK MOON PAN PAN 6 BOLSTER LEADER CLImb 7 8 0 2 9 PANIC DIVINE SHEphERD + ATYRS S PAN PERSEPHONE 6 CLOSE PROTECTION BOLSTER LEADER 6 9 0 2 8 SPRING GROWTH QUEEN OF THE UNDERWOLRD PAN HERA 4 SNEAK ATTACK CLOSE PROTECTION MOBILITY 7 8 0 2 8 TREACHERY MOTHER OF LEGENDS HER ODYSSEUS 3 PHALANX BOLSTER LEADER 5 7 2 1 6 SUBTERFUGE CUnnING COR BELLEROPHON 5 MOnsTER SLAYER BOLSTER GUARD 7 8 0 3 6 PEGASUS’ GRACE FRIEND OF THE MUSES PAN ECHO 1 CLImb 0 7 0 2 5 HOWLING DISTRACTION PAN AEGISTHUS 2 MOBILITY CLImb SNEAK ATTACK 5 6 0 1 6 ASSASSIN POISONED DAGGER PAN HECTOR 3 BOLSTER PHALANX GUARD 6 7 0 1 7 WALL OF TROY HECTOR’S BRAVERY PAN MARSYAS 1 CLImb BOLSTER 0 6 0 2 5 CHALLENGE PAN MEDEA 2 CLOSE PROTECTION SNEAK ATTACK MOBILITY 6 6 0 1 6 HEAL STUN PAN ORPHEUS 2 BOLSTER LEADER SNEAK ATTACK 6 6 0 2 5 LYRE OF ORphEUS RAPTURE PAN SISYPHUS 1 MOBILITY MIGHTY THROW 0 5 0 1 6 5 DESTINY OF SISYphUS ROCK PAN PANDORA 1 0 8 1 1 5 EVILS OF MANKIND PANDORA’ S HOPE HEP AUTOLYCUS 2 SNEAK ATTACK MOBILITY CLImb 5 7 0 2 5 KING OF THIEVES ELUSIVE HER CHIRON 4 INITIATIVE MOBILITY BOLSTER 6 7 2 2 7 ImmORTALITY CHIRON’ S WISDOM HER VETERAN HERACLES 5 MIGHTY THROW BLOCK 8 8 2 1 7 8 HYDRA’ S BLOOD HERACLEAN FEAT HER ANDROMEDA 1 CLOSE PROTECTION BLOCK 0 5 1 2 5 ANDROMEDA’ S SACRIFICE ANDROMEDA’ S CHAIns POS PERIPHETES 2 MIGHTY THROW SNEAK ATTACK INITIATIVE 6 7 0 1 6 BRIGAND BRONZE CLUB POS THESEUS 3 MOnsTER SLAYER LEADER GUARD 6 8 0 1 6 SHINING STRIKE ARIADNE’S THREAD POS OEDIPUS 2 LEADER BOLSTER PHALANX 6 6 1 1 6 REPENTANCE THE AnsWER OED AGAMEMNON 3 BOLSTER PHALANX LEADER 6 7 0 1 7 COmmANDER HEphAISTOS’ SCEPTRE TRO AJAX 4 MIGHTY THROW LEADER 8 9 0 1 7 WALL OF THE ACHAEAns THE SHAME OF AJAX TRO DIOMEDES 3 PHALANX BOLSTER LEADER 7 7 0 1 6 GOD KILLER DOOM OF THE GODS TRO PENTHESILEA 3 BOLSTER LEADER CLImb 6 7 0 1 6 CHARISMA MOURNING PENTHESILEA TRO CERBERUS 4 MIGHTY THROW GUARD BLOCK 7 8 0 2 5 6 8 THREE-HEADED BITE BLAZING BREATH COR MEDUSA 3 TORMENT MOBILITY CLImb 6 7 2 2 7 PETRIFY COR ARACHNE 3 GEM COLLECTOR MOBILITY CLImb 6 7 0 3 7 ARAChnE’S WEB GIANT SPIDERS + GIANT SPIDERS PAN DRAGON OF THEBES 4 MIGHTY THROW GUARD BLOCK 7 8 1 1 8 TEETH OF THE DRAGON THE SACRED SPRING + SPARTOI PAN ECHIDNA 5 TORMENT BLOCK CLImb 7 8 0 2 8 MOTHER OF MOnsTERS ECHIDNA’S POISON PAN GRAEAE 1 BOLSTER LEADER GEM COLLECTOR 0 7 0 1 5 EYE OF THE GRAEAE GUARDIAN OF THE GORGON PAN GRIFFON 4 INITIATIVE GUARD BLOCK 7 7 0 3 8 SWIFT TALON DIVE BOmb PAN ORION 4 MIGHTY THROW BLOCK MOnsTER SLAYER 7 8 1 2 7 HUNTER TRACKING PAN PHOENIX 3 TORMENT INITIATIVE GUARD 7 6 0 3 - 6 6 OUT OF THE ASHES FLAMES OF THE PHOENIX PAN STHENO THE GORGON 3 TORMENT INITIATIVE SNEAK ATTACK 7 7 0 2 7 PETRIFY BLOOD OF THE GORGON PAN TITYOS 3 MIGHTY THROW BLOCK 8 9 0 1 6 9 ROCK & ROLL EARTHQUAKE PAN ACAMAS 4 MIGHTY THROW BLOCK 8 8 0 2 8 MOLTEN METAL CUIRASS HEP PROMETHEUS 5 MIGHTY THROW BLOCK 8 8 1 2 - 8 REGENERATION PRIMEVAL FIRE HEP TALOS 5 MIGHTY THROW GUARD BLOCK 7 10 1 1 8 TITANIC STRENGTH SCORCHING METAL HEP GERYON 5 FORCE OF NATURE MIGHTY THROW BLOCK 7 8 1 2 7 9 THREE-HEADED SHEphERD HER LADON 5 GUARD BLOCK CLImb 8 8 1 2 6 8 MANY BITES LADON’ S HUNDRED HEADS HER CHARYBDIS 5 MIGHTY THROW 10 9 1 0 6 5 10 ABYSSAL MAW GROUNDSWELL POS POLYPHEMUS 5 GEM COLLECTOR BLOCK 8 8 1 1 7 10 CYCLOPEAN STRENGTH POLYphEMUS’ ANGER POS SPHINX 3 BLOCK 7 9 0 2 7 RIDDLE OF THE SphINX INTELLECTUAL SUPERIORITY OED BASILISK 3 TORMENT BLOCK CLImb 7 7 0 2 7 PETRIFY POISON BITE ECH 2 4 0 1 +1 offence if this unit includes at least 3 Giant Spiders. +1 offence if this unit is in the same area as Arachne. GIANT Arachne gains Torment SPIDERS if this unit is in her area GUARD (ARAChnE ONLY) CLImb.
Load more

Recommended publications
  • Greek Mythology at the Service of the Portuguese Inquisition: the Case of Hercules and the Hydra of Lerna
    Athens Journal of Mediterranean Studies- Volume 1, Issue 1 – Pages 25-44 Greek Mythology at the Service of the Portuguese Inquisition: The Case of Hercules and the Hydra of Lerna By Milton Dias Pacheco Greek mythology has been along the centuries a fruitful source of inspiration to artists and writers, as it possesses the strength of expressing symbolically the most common circumstances of life. Regarding the threats that in every age put in danger human life the most popular figure was maybe the Hydra that infested the region of the Lake of Lerna, in Argolis. This mythical figure may still have an older origin as it is connected with chthonic dangers. Because of its terrifying aspect, reptilian traits and poisonous breath, it was related to the evil and the domains of Hell. Later the Hydra significance became larger and deeper as it represented the heresies that could affect the Christian orthodoxy. According to this point of view, every defender of the Catholic Faith was immediately compared to Hercules, the Greek hero who succeeded in killing the mythological Hydra monster. In this way, it is easy to understand why this representation was often used in connection with the Iberian Habsburg Kings, as it worked as a political strategy of this dynasty, in which the Spanish Habsburgs were faced as the guardians and defenders of the Church of Rome, mainly in times when the Inquisition developed a determinative role. An illustrative example of this was the decoration of the arch built by the Inquisition in Lisbon, when King Philip II of Portugal visited the Portuguese Empire capital.
    [Show full text]
  • PUBLIC OBSERVING NIGHTS the William D. Mcdowell Observatory
    THE WilliamPUBLIC D. OBSERVING mcDowell NIGHTS Observatory FREE PUBLIC OBSERVING NIGHTS WINTER Schedule 2019 December 2018 (7PM-10PM) 5th Mars, Uranus, Neptune, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Oribion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) 12th Mars, Uranus, Neptune, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Oribion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) 19th Moon, Mars, Uranus, Neptune, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Oribion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) 26th Moon, Mars, Uranus, Neptune, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Oribion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884)? January 2019 (7PM-10PM) 2nd Moon, Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Orion Nebula (M42), Open Cluster (M35) 9th Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Orion Nebula (M42), Open Cluster (M35) 16 Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Orion Nebula (M42), Open Cluster (M35) 23rd, Moon, Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Orion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) 30th Moon, Mars, Uranus, Neptune, Sirius, Almach (double star), Pleiades (M45), Andromeda Galaxy (M31), Orion Nebula (M42), Beehive Cluster (M44), Double Cluster (NGC 869 & 884) February 2019 (7PM-10PM) 6th
    [Show full text]
  • 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.
    [Show full text]
  • Alcmaeon in Psophis
    Alcmaeon in Psophis Psophis was said to have been originally called Erymanthus, and its territory to have been ravaged by the Erymanthian Boar.Pausanias, "Description of Greece" viii. 24. § 2-10] [Hecat. "on Stephanus of Byzantium s.v." polytonic|Ψωφίς] [Apollodorus, ii. Alcmaeon (mythology) â” In Greek mythology, Alcmaeon, or Alkmáon, was the son of Amphiaraus and Eriphyle. As one of the Epigoni, he was a leader of the Argives who attacked Thebes, taking the city in retaliation for the deaths of their fathers, the Seven Against Thebes ⦠Alcmaeon in Psophis. Year: between 180 and 200 AD. Scripts: Alcmaeon in Psophis by Euripides. Genres: Tragedy. Psophis. How to cite this ancient performance. Alcmaeon in Psophis, accessed at http://www.apgrd.ox.ac.uk/ancient- performance/performance/98 <16 September 2018>. Alcmaeon in Psophis (Ancient Greek: Ἀλκμαίων ὠδιὰ Ψωφῖδος, AlkmaiÅn ho dia Psophidos) is a play by Athenian playwright Euripides. The play has been lost except for a few surviving fragments. It was first produced in 438 BCE in a tetralogy that also included the extant Alcestis and the lost Cretan Women and Telephus. The story is believed to have incorporated the death of Argive hero Alcmaeon.[1]. Alcmaeon in Psophis. Alcmaeon (mythology)'s wiki: In Greek mythology, Alcmaeon (Greek: Ἀλκμαίων), was the son of Amphiaraus and Eriphyle. As one of the Epigoni, he was a leader of the Argives who attacked Thebes, taking the city in retaliation for the deaths of their fathers, the Seven Against Thebes, wh.
    [Show full text]
  • 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.
    [Show full text]
  • Hesiod, Cosmogony, and Cupid-Apollo-Daphne in Metamorphoses Book 1 April 12, 2018 - CAMWS Annual Meeting – Albuquerque, NM Brett L
    Hesiod, Cosmogony, and Cupid-Apollo-Daphne in Metamorphoses Book 1 April 12, 2018 - CAMWS Annual Meeting – Albuquerque, NM Brett L. Stine – Texas Tech University – [email protected] 1) Theogony 116-28 Translation:1 ἤτοι μὲν πρώτιστα Χάος γένετ᾽· αὐτὰρ ἔπειτα Then first Chaos came to be; then next Γαῖ᾽ εὐρύστερνος, πάντων ἕδος ἀσφαλὲς αἰεὶ Gaia, broad-breasted, the always unslipping seat ἀθανάτων οἵ ἔχουσι κάρη νιφόεντος Ὀλύμπου, of all the immortals, who hold the head of snowy Olympus, [Τάρταρά τ᾽ ἠερόεντα μυχῷ χθονὸς εὐρυοδείης,] and murky Tartarus in the depths of broad-pathed earth 120 ἠδ᾽ Ἔρος, ὅς κάλλιστος ἐν ἀθανάτοισι θεοῖσι, and Eros who [is] most beautiful, among the immortal gods, λυσιμελής, πάντων τε θεῶν πάντων, τ᾽ ἀνθρώπων limb-loosening, [who] subdues the mind and prudent council δάμναται εν στήθεσσι νόον καὶ ἐπί φρονα βουλήν. of all gods and men. ἐκ Χάεος δ᾽Ἔρεβός τε μέλαινά τε Νὺξ ἐγένοντο· From Chaos came to be Erebos and Swarthy Night. Νυκτὸς δ᾽ αὖτ᾽ Αἰθήρ τε καὶ Ἡμέρη ἐξεγένοντο, And further from Night Aëther and Day came to be, 125 οὕς τέκε κυσαμένη Ἐρέβει φιλότητι μιγεῖσα. whom [she] bore, impregnated, having mingled in love Γαῖα δἐ τοι πρῶτον μὲν ἐγείνατο ἶσον ἑωυτῇ with Erebos. And Gaia first brought into being an equal to herself Οὐρανὸν ἀστερόενθ᾽, ἵνα μιν περὶ πᾶσαν ἐέργοι, starry Uranus, in order to cover her on every side, ὄφρ᾽ εἴη μακάρεσσι θεοῖς ἕδος ἀσφαλὲς αἰεί. [and] so as to be always an unslipping seat for the blessed gods 2) Metamorphoses 1.5-9, 15-25 5 ante mare et terras et, quod tegit Omnia, caelum before sea and earth, and which covers everything, heaven, unus erat toto naturae vultus in orbe, one face existed in the whole orb of nature, quem dixere Chaos, rudis indigestaque moles which they call Chaos, a mass unformed and without order, nec quicquam nisi pondus iners congestaque eodem which [was] nothing except artless weight and similarly non bene iunctarum discordia semina rerum heaped-up discordant seeds of things poorly joined.
    [Show full text]
  • Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject.
    [Show full text]
  • Euripides and Gender: the Difference the Fragments Make
    Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines.
    [Show full text]
  • Hybrid Monsters
    HYBRID MONSTERS IN THE CLASSICAL WORLD THE NATURE AND FUNCTION OF HYBRID MONSTERS IN GREEK MYTHOLOGY, LITERATURE AND ART by Liane Posthumus Thesis presented in partial fulfilment of the requirements for the degree Master of Philosophy in Ancient Cultures at the University of Stellenbosch Supervisor: Prof. J.C. Thom Co-supervisor: Dr. S. Thom Faculty of Arts and Social Sciences Department of Ancient Studies March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 28 February 2011 Copyright © 2010 University of Stellenbosch All rights reserved i ABSTRACT The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of man- horse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity.
    [Show full text]
  • Mythology in Poetry
    Mythology in AP Poetry Andromeda sorrowing father was close at hand, and her mother too. They were Andromeda was the princess of Ethiopia, daughter of Cepheus and both in deep distress, though the mother had more cause to be so Cassiopeia. Cassiopeia was a boastful woman, and foolishly bragged (Metamorphoses IV 674-692) Perseus said to her parents that he that she was more beautiful than Juno, the queen of the gods, and the would kill the monster if they agree to give him their daughter's hand Nereids. In order to avenge the insult to his nymphs, Neptune sent a in marriage. They of course gave their consent, and Perseus killed the sea monster to ravage the Ethiopian coast. (Some accounts state that monster. (His exact method of doing so varies in different versions of the constellation Cetus represents the sea monster, but a more the myth. Ovid has Perseus stab the monster to death after a drawn- common view of Cetus is that he is a peaceful whale.) out, bloody battle, while other versions have the hero simply hold up the head of Medusa, turning the monster to stone.) Andromeda was The horrified king consulted Ammon, the oracle of Jupiter, who said freed, and the two joyously marry. that Neptune could be appeased only by sacrificing Cassiopeia's *Andromeda is represented in the sky as the figure of a woman with beautiful virgin daughter, Andromeda, to the monster. Andromeda her arms outstretched and chained at the wrists. was duly chained to a rock on the coast, fully exposed to the monster.
    [Show full text]
  • ECHIDNA E I SUOI DISCENDENTI Studio Sul Carattere Ibrido E Mostruoso Nella Stirpe Di Pontos
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archivio della ricerca- Università di Roma La Sapienza IGOR BAGLIONI ECHIDNA E I SUOI DISCENDENTI Studio sul carattere ibrido e mostruoso nella stirpe di Pontos Dottorato di Ricerca in Storia Religiosa XXIV ciclo Roma 2012 1 SOMMARIO ELENCO DELLE ABBREVIAZIONI ………………………………... 4 INTRODUZIONE ……………………………………………………... 6 NOTE ALLA TERMINOLOGIA E AL CONCETTO DI “MOSTRUOSO” NELL’ANTICA GRECIA ………………………..... 8 La terminologia del “mostruoso” …………………………………… 8 Il “mostruoso” come categoria …..………………………………… 15 La tipologia del mostro femminile tra Gender Studies e psicologia.. 24 Tevra~ come equivalente di monstrum ……………………………... 56 Tipologie del “mostruoso” nell’antica Grecia ……………………... 59 LE CARATTERISTICHE DI ECHIDNA IN ESIODO ……………... 65 Echidna come entità ofiomorfa ……………………………………. 66 Echidna come entità primordiale …………………………………... 83 Echidna come entità femminile ……………………………………. 89 L’ASPETTO ACOSMICO E PRIMORDIALE DI TYPHON NELLA TEOGONIA …………………………………………………………... 93 LA DISCENDENZA DI ECHIDNA ……………………………….. 111 Premessa ………………………………………………………….. 112 Orthos …………………………………………………………….. 113 Kerberos ………………………………………………………….. 119 2 Hydra ……………………………………………………………... 135 Chimaira ………………………………………………………….. 157 Sphinx …………………………………………………………….. 179 Il leone di Nemea ………………………………………………… 201 CONCLUSIONI ……………………………………………………. 220 BIBLIOGRAFIA …………………………………………………… 233 3 ELENCO DELLE ABBREVIAZIONI AAt = Atti della Accademia delle Scienze di Torino. Classe di Scienze Morali,
    [Show full text]
  • Perseus & Phineus / Ricci
    J. Paul Getty Museum Education Department Gods, Heroes and Monsters Curriculum Information and Questions for Teaching Perseus Confronting Phineus..., Sebastiano Ricci Perseus Confronting Phineus with the Head of Medusa Sebastiano Ricci Italian, about 1705–1710 Oil on canvas 25 3/16 x 30 5/16 in. 86.PA.591 In Greek mythology, the hero Perseus was famous for killing Medusa, the snake-haired Gorgon whose grotesque appearance turned men to stone. This painting, however, shows a later episode from the hero's life. At Perseus's wedding, the celebration was interrupted by a mob led by Phineus, an unsuccessful suitor to his fiancé Andromeda. After a fierce battle, Perseus warned his allies to turn away their eyes while he revealed the head of Medusa to his enemies. In the midst of battle, Phineus and his cohorts are turned to stone. Ricci depicted the fight as a forceful, vigorous battle. In the center, Perseus lunges forward, his muscles taut as he shoves the head of Medusa at Phineus and his men. One man holds up a shield, trying to reflect the horrendous image and almost losing his balance. Behind him, soldiers already turned to stone are frozen in mid-attack. All around, other men have fallen and are dead or dying. Ricci used strong diagonals and active poses to suggest energetic movement. About the Artist Sebastiano Ricci (Italian, 1659–1734) One of the principal figures in the revival of Venetian painting in the 1700s, Sebastiano Ricci came from a noted family of artists. After formal artistic training in Venice, he traveled widely, working in Vienna, London, and Paris.
    [Show full text]