Greek Mythology Unit

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Greek Mythology Unit Chapter 1 (I.i) Chapter 2 (I.ii) Chapters 5-6 (II.i-ii) Demeter (Ceres) Love Stories Mt. Olympus Persephone Cupid nectar and ambrosia pomegranate seed Psyche Oracle at Delphi Pyramus Dionysus (Bacchus) Thisbe Twelve Great Zeus and Semele Orpheus Olympians Maenads Eurydice Zeus (Jupiter) Pygmalion Poseidon (Neptune) Chapter 3 (I.iii) Galatea Hades (Pluto) Creation of the Baucis Hestia (Vesta) Universe Philemon Hera (Juno) Chaos Endymion Ares (Mars) Night (Nyx) Selene Athena (Minerva) Erebus Daphne Phoebus Apollo Love Aphrodite (Venus) Gaea (Earth) Chapter 7 (II.iii) Hermes (Mercury) Ouranos (Heaven) Quest of the Golden Artemis (Diana) Cyclopes Fleece Hephaestus (Vulcan) Titans The Argo Cronus Phrixus Lesser Gods of Olympus Rhea Helle The Graces The Giants Pelias The Muses Erinyes (The Furies) Jason Atlas Harpies The Underworld The Hyperboreans Amazons Erebus Prometheus The Symplegades Tartarus Epimetheus Medea Charon Pandora King Æetes Cerberus The Deluge Scylla Elysian Fields Deucalion Charybdis Styx Pyrrha The Erinyes (The Furies) Chapter 8 (II.iv) Chapter 4 (I.iv) Four Great Adventures Lesser Gods of Earth The Earliest Heroes Phaethon Pan Io Helios The Satyrs Europa Pegasus Aeolus Polyphemus Bellerophon The Centaurs Narcissus Chimaera The Gorgons Echo Daedalus The Graiae Icarus The Sirens King Minos The Fates Chapter 9 (III.i) The House of Thebes Perseus Chapters 13-14 (IV.i-ii) Cadmus Danaë The Trojan War and Harmonia Polydectes The Fall of Troy King Laius Gorgons the Iliad Oedipus Medusa Eris The Sphinx The Graiae Paris Teiresias The Hyperboreans Helen Jacosta Andromeda Menelaus Creon Cassiopeia Agamemnon Antigone Odysseus Chapter 10 (III.ii) Achilles The House of Athens Theseus King Priam Cecrops Aegeus Queen Hecuba Procne Athens Hector Philomela Medea Thetis Porcris Minos Ajax Cephalus Crete Diomedes Creüsa Minotaur Aeneas Ion Daedalus Patroclus Labyrinth Chapters 20-21 (VI. I-ii) Ariadne Chapter 16 (IV.iv) Other Stories and Creatures Hercules The Adventures of Aeneas Midas Chair of Forgetfulness the Aeneid Aesculapius Amazons Sibyl Scylla Dido Pomona Chapter 11 (III.iii) Vertumnus Hercules Chapters 17-19 (V.i-iii) Amalthea Theseus The House of Atreus Cornucopia Eurystheus Tantalus Amazons The Twelve Labors Niobe Arachne Hydra Atreus Hero Augean stables Agamamnon Leander Amazons Menelaus Leto Golden Apples of the Hespirides Clytemnestra Orion Atlas Aegisthus the Pleiades Cerberus Iphigenia Sisyphus Electra Chapter 12 (III.iv) Orestes Atalanta Furies Calydonian boar hunt Euminides Golden Apples of the Hesperides .

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Getting Acquainted with the Myths Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Getting acquainted with the myths Search the GML advanced Sections in this Page I. Getting acquainted with the myths II. Four "gateways" of mythology III. A strategy for reading the myths I. Getting acquainted with the myths What "getting acquainted" may mean We'll first try to clarify the meaning that the expression "getting acquainted" may have in this context: In a practical sense, I mean by "acquaintance" a general knowledge of the tales of mythology, including how they relate to each other. This concept includes neither analysis nor interpretation of the myths nor plunging too deep into one tale or another. In another sense, the expression "getting acquainted" has further implications that deserve elucidation: First of all, let us remember that we naturally investigate what we ignore, and not what we already know; accordingly, we set out to study the myths not because we feel we know them but because we feel we know nothing or very little about them. I mention this obvious circumstance because I believe that we should bear in mind that, in this respect, we are not in the same position as our remote ancestors, who may be assumed to have made their acquaintance with the myths more or less in the same way one learns one's mother tongue, and consequently did not have to study them in any way.
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A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied
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Homer's Iliad Via the Movie Troy (2004)
23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad.
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Between Arcadia and Crete: Callisto in Callimachus' Hymn to Zeus The
Between Arcadia and Crete: Callisto in Callimachus’ Hymn to Zeus The speaker of Callimachus’ Hymn to Zeus famously asks Zeus himself whether he should celebrate the god as “Dictaean,” i.e. born on Mt. Dicte in Crete, or “Lycaean,” born on Arcadian Mt. Lycaeus (4-7). When the response comes, “Κρῆτες ἀεὶ ψεῦσται” (“Cretans are always liars,” 8), the hymnist agrees, and for support recalls that the Cretans built a tomb for Zeus, who is immortal (8-9). In so dismissing Cretan claims to truth, the hymnist justifies an Arcadian setting for his ensuing birth narrative (10-41). Curiously, however, after recounting Zeus’s birth and bath, the hymnist suddenly locates the remainder of the god’s early life in Crete after all (42-54). The transition is surprising, not only because it runs counter to the previous rejection of Cretan claims, but also because the Arcadians themselves held that Zeus was both born and raised in Arcadia (Paus. 8.38.2). While scholars have focused on how the ambiguity of two place names (κευθμὸν... Κρηταῖον, 34; Θενάς/Θεναί, 42, 43) misleads the audience and/or prepares them for the abrupt move from Arcadia to Crete (Griffiths 1970 32-33; Arnott 1976 13-18; McLennan 1977 66, 74- 75; Tandy 1979 105, 115-118; Hopkinson 1988 126-127), this paper proposes that the final word of the birth narrative, ἄρκτοιο (“bear,” 41), plays an important role in the transition as well. This reference to Callisto a) allusively justifies the departure from Arcadia, by suggesting that the Arcadians are liars not unlike the Cretans; b) prepares for the hymnist’s rejection of the Cretan account of Helice; and c) initiates a series of heavenly ascents that binds the Arcadian and Cretan portions of the hymn and culminates climactically with Zeus’s own accession to the sky.
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Novice – Preliminary Round 1 1
Yale Certamen 2019 Written by Samir Al-Ali, Nestoras Apodiakos, Margot Armbruster, Aspen Bombardo, Andres Cook, Ram Gollapudy, Noah Harris, Connor Harrison, Michael Howard, Minyoung Hwang, David Jackson, David Jaffe, Lina Kapp, Michael Kearney, John Kim, Carina Layfield, Joshua Lomasney, Mindren Lu, Noah McThenia, Gabriel Molina, Ali Murray, Matt Nelson, Ben Ream, Henry Schott, Jason Tan, Matthew Thomas, and Jonathan Yuan. Edited by Michael Kearney. Novice – Preliminary Round 1 1. Complete the following analogy: “Rōma” is to “Italy” as “Athēnae” is to “blank”? GREECE B1: Now complete this analogy: “Rōma” is to “Italy” as “Alexandria” is to “blank”? EGYPT B2: Now complete this analogy: “Rōma” is to “Italy” as “Londinium” is to “blank”? ENGLAND 2. What daughter of Idmon hanged herself after losing a weaving contest to Athena? ARACHNE B1: What offensive image did Arachne weave into her tapestry? MISDEEDS OF THE GODS // GODS’ AFFAIRS WITH MORTALS [ACCEPT EQUIVALENTS] B2: What woman did Athena transform into a Gorgon after she lay with Poseidon in the goddess’ shrine? MEDUSA 3. In the following Chicago lyrics, identify a word derived from the Latin verb for “see”: “Unless of course that personage should be, / invisible, inconsequential, me.” INVISIBLE B1: From what Latin word with what meaning do we derive “personage”? PERSŌNA – PERSON / CHARACTER / MASK B2: In the following Hamilton lyric, please identify either word derived from a Latin verb meaning “stand”: “He woulda been dead and destitute without a cent of restitution.” DESTITUTE or RESTITUTION 4. What enemy of Rome, acting on behalf of the city of Tarentum, led his war elephants against the Romans at Heraclea in 280 B.C.? PYRRHUS (OF EPIRUS) B1: What Roman refused to be bribed by Pyrrhus? (GAIUS) FABRICIUS B2: Where did the Romans, led by Curius Dentatus, defeat Pyrrhus in 275 B.C.? BENEVENTUM / MALEVENTUM 5.
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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.
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7 Butchering Girls
7 BUTCHERING GIRLS Red Riding Hood and Bluebeard For heroines of the ‘innocent slandered maiden’ type we can expect a murder attempt, but the tale does not really centre on the murder episode as such, and the heroine for her part does not do a great deal to avert her fate, although she may show considerable initiative in variants where she is disguised as a man. Other tale-plots are, however, considerably more inclined to indulge an appetite for ghoulish horror, at times apparently for its own sake, and the ‘compassionate executioner’ is not likely to be on standby either. Tales of plucky young girls who elude being devoured or murdered by an animal or human predator are well entrenched in the modern repertoire. The best known are Little Red Riding Hood (Little Redcap) and Bluebeard; both are often felt to be tales of relatively limited distribution and obscure early history. Once more there is a great deal of further exploration still to be done. Red Riding Hood (AT Type 333)1 The Perrault version of Little Red Riding Hood is the first available example of the modern tale, and also the best known: The girl in the red cape has to cross the wood on an errand to her grandmother. In conversation the wolf elicits details of her errand, comes to the grandmother’s house by a different route, and swallows both. Not until the Grimms does there appear to be a happy ending, in which the wolf is forced to disgorge the victims still alive and is then himself killed by having his belly weighted with stones; a second wolf in a clumsy doublet attack is then drowned in a water butt.
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Cultural Sightseeing
SIGHTSEEING IN CRETA A QUICK GUIDE TO INTERESTING PLACES WORTH VISIT SUMMER 2020 KNOSSOS The archaeological site of Knossos (Knosós GR: Κνωσός) is sited 5 km southeast of the city of Iraklion. There is evidence that this location was inhabited during the neolithic times (6000 B.C.). On the ruins of the neolithic settlement was built the first Minoan palace (1900 B.C.) where the dynasty of Minos ruled. This was destroyed in 1700 B.C and a new palace built in its place. The palace covered an area of 22,000sq.m, it was multi- storeyed and had an intricate plan. Due to this fact the Palace is connected with thrilling legends, such as the myth of the Labyrinth with the Minotaur. Between 1.700-1.450 BC, the Minoan civilization was at its peak and Knossos was the most important city-state. During these years the city was destroyed twice by earthquakes (1.600 BC, 1.450 BC) and rebuilt. The city of Knossos had 100.000 citizens and it continued to be an important city-state until the early Byzantine period. Knossos gave birth to famous men like Hersifron and his son Metagenis, whose creation was the temple of Artemis in Efesos, the Artemisio, one of the seven wonders of the ancient world. THE MINOAN PALACE AND CITY OF MALIA The Minoan Palace and the archaeological site of Malia are located 3 km East of the town of Malia. From the architectural point of view the Palace of Malia, is the third- largest of the Minoan Palaces and is considered the most "provincial" of them.
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Chthonians in Sicily Curbera, Jaime B Greek, Roman and Byzantine Studies; Winter 1997; 38, 4; Proquest Pg
Chthonians in Sicily Curbera, Jaime B Greek, Roman and Byzantine Studies; Winter 1997; 38, 4; ProQuest pg. 397 Chthonians in Sicily Jaime B. Curbera To the memory of Giuseppe Nenci ICILY WAS FAMOUS for her chthonic deities. 1 According to tradition, Hades abducted Kore at Syracuse, Henna, or SAetna; Pindar calls Acragas <l>EpoE<j)6vac; EDOC; (Pyth. 12.2); and the whole island was said to be sacred to Demeter and Kore (Diod. 5.2.3; Cic. Verr. 2.4.106). Indeed, archaeological and numismatic evidence abundantly confirms the literary sources.2 This paper deals with some previously unnoticed epi thets of Sicily's chthonic gods and with the reflection of their cult on personal names on the island. I. The Kyria Earlier in this century, a grave in ancient Centuripae, some 30 km southwest of Mt Aetna, yielded an interesting lead curse tablet, first published by Domenico Comparetti after a drawing by Paolo Orsi, and again, in apparent ignorance of Comparetti's edition, by Francesco Ribezzo with a drawing from autopsy.3 Neither text was satisfactory. Using Orsi's and Ribezzo's drawings, J. J. E. Hondius, "adiuvantibus Cr[onert] et Wil h[elm]," produced in 1929 what is now the best text, SEG IV 61. I Abbreviations: DTAud=A. Audollent, Defixionum tabellae quotquot in notuerunt (Paris 1904); DTWu=R. Wunsch, Defixionum tabellae (Berlin 1897); IGDS=L. Dubois, Inscriptions grecques dialectales de Sicile (Rome 1989); Jordan=D. R. Jordan, • A Survey of Greek Defixiones Not Included in the Special Corpora," GRBS 26 (1985) 151-97. 2 See e.g.
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1 Name 2 Zeus in Myth
Zeus For other uses, see Zeus (disambiguation). Zeus (English pronunciation: /ˈzjuːs/[3] ZEWS); Ancient Greek Ζεύς Zeús, pronounced [zdeǔ̯s] in Classical Attic; Modern Greek: Δίας Días pronounced [ˈði.as]) is the god of sky and thunder and the ruler of the Olympians of Mount Olympus. The name Zeus is cognate with the first element of Roman Jupiter, and Zeus and Jupiter became closely identified with each other. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort The Chariot of Zeus, from an 1879 Stories from the Greek is Dione: according to the Iliad, he is the father of Tragedians by Alfred Church. Aphrodite by Dione.[4] He is known for his erotic es- capades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, the Proto-Indo-European god of the daytime sky, also [10][11] Persephone (by Demeter), Dionysus, Perseus, Heracles, called *Dyeus ph2tēr (“Sky Father”). The god is Helen of Troy, Minos, and the Muses (by Mnemosyne); known under this name in the Rigveda (Vedic San- by Hera, he is usually said to have fathered Ares, Hebe skrit Dyaus/Dyaus Pita), Latin (compare Jupiter, from and Hephaestus.[5] Iuppiter, deriving from the Proto-Indo-European voca- [12] tive *dyeu-ph2tēr), deriving from the root *dyeu- As Walter Burkert points out in his book, Greek Religion, (“to shine”, and in its many derivatives, “sky, heaven, “Even the gods who are not his natural children address [10] [6] god”).
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Thucydides on Early Greece and the Trojan
1.1-23: Preface Motivation for this history (1) (1.1.1) Thucydides of Athens composed the war the Peloponnesians and Athenians fought against each other. He started as soon as it broke out, since he foresaw it would be important and more noteworthy than all before it, a deduction based on the highest level of every aspect of preparedness reached by both sides, and the observation that the remaining Greek peoples were joining one side or the other from its outbreak or planning to later. (1.1.2) And this was in fact the largest mobilization by Greeks as well as a considerable number of non-Greeks,1 extending over virtually the entire population. (1.1.3) Preceding ones, including those of the more distant past, although impossible to determine clearly after so much time, were probably not important either as wars or anything else. Determining the past by means of deductions (1.3-21) This belief is based on my study as far back as possible, and the deductions2 I thought were plausible. Earliest Greece: displacement, violence and insecurity (except for Athens) (1.2.1) Long ago, what is now called Greece probably did not have a stable population. In the earliest stage there was migrations, since any one group was quick to abandon its own land when attacked by any 1 Barbaroi, used by T. both in the neutral sense of “non-Greek” and in the pejorative sense of “backwards” (in the latter case translated as “barbarian”). 2 The following 20 chapters survey Greek pre-history (much of it mythical) to demonstrate the shortcomings of previous mobilizations.
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Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world.
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