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INTRODUCTION Katerina Carvounis and Richard Hunter 1 It Would Be
INTRODUCTION Katerina Carvounis and Richard Hunter 1 It would be depressingly easy, and not very instructive, to document the neg lect of 'later' Greek poetry in books that claim to offer accessible introductions to ancient literature; that it is still possible to do so from books written very recently, when the whole notion of 'the classical canon' has come under in creasingly strenuous examination and the study of 'later antiquity' has properly come into its own, might seem more depressing still, though it also sheds light on how the academy views its task of disseminating trends in research more broadly. In any case, any such catalogue of neglect would be widely (and per haps rightly) regarded as a rhetorical move of self-justification of a kind very familiar in academic discourse; after all, it took years of voluminous writing about the ancient novel before scholars in that field abandoned the ritual com plaint about the 'neglect' of this literature (the torch has perhaps been handed on to the study of early Christian narrative). More interesting than such lamentation might be a consideration of why this neglect of later Greek poetry has persisted for so long and why this seems to be a particularly appropriate moment to reflect on further directions that modern scholarship can take when dealing with this body of poetry. Later Greek poetry was composed in a period that has long been regarded as one of decline, and the absence, until recently, of updated editions and detailed commentaries meant that these texts were not very accessible to the majority of modern scholars, while the lack of external information on most later Greek hexameter poets makes it difficult to place them in a literary and historical context. -
The Dancing God and the Mind of Zeus in Nonnos' Dionysiaca
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Οὐδε γέρων Ἀστραῖος ἀναίνετο: The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca Doron Simcha Tauber Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Literature and Philology Commons, and the Indo-European Linguistics and Philology Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Tauber, Doron Simcha, "Οὐδε γέρων Ἀστραῖος ἀναίνετο: The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca" (2017). Senior Projects Spring 2017. 130. https://digitalcommons.bard.edu/senproj_s2017/130 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Οὐδε γέρων Ἀστραῖος ἀναίνετο The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca Senior Project submitted to The Division of Languages and Literature of Bard College by Doron Simcha Tauber Annandale-on-Hudson, New York May 2017 For James, my Hymenaios Acknowledgements: Bill Mullen has been the captain of my errant ship, always strong on the rudder to keep my course on line. -
The Elements of Comedy and Parody in the Dionysiaca of Nonnus
SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXVII/3 • 2017 pp. 59–71. ISSN 0302-7384 dOI: 10.14746/sppgl.2017.XXVII.3.6 Anna Maria Lasek Adam Mickiewicz University, Poznań THE ELEMENTS OF COMEdY ANd PAROdY IN THE DIONYSIACA OF NONNUS abstraCt. Lasek Anna Maria, The elements of comedy and parody in the dionysiaca of Nonnus. In this article the author presents the elements of comedy and parody in the dionysiaca of Nonnus. The analysis of the passages excerpted from the dionysiaka shows that the composition of Nonnus’ poem is based on the principle of generic variety. keywords: Nonnus; dionysiaka; parody; Ares; Aphrodite. Scholars agree that literary genres have a certain momentum, and that they change. Any author within a genre develops and transforms it to create a work combining traditional genre features with new and unexpected elements.1 This way, every implementation of a genre means bringing it up to date and sets anew its boundaries. This phenomenon is particularly clearly visible in a work written by Nonnus of Panopolis in late Antiquity. As its author highlights in the proemium, this work is based on the principle of poetic variety – varietas (ποικιλία) This predilection for variety was reflected in the poet’s style, the richness of synonyms appearing in the dionysiaca; his striving for diversification in presenting characters, situations and things; and the composition of the work.2 Undoubtedly, as results from the same principle of diversity – ποικιλία3 the term epos is not sufficient for dionysiaca. In the entire body of the work, one can trace elements of various genres, and even entire passages bearing their characteristics so clearly that scholars have not hesitated to identify them with idyll, epigram, etc. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Studies in Colluthus' Abduction of Helen
Studies in Colluthus’ Abduction of Helen Mnemosyne Supplements late antique literature Editors David Bright (Emory) Scott McGill (Rice) Joseph Pucci (Brown) Editorial Board Laura Miguélez-Cavero (Oxford) Stratis Papaioannou (Brown) Aglae Pizzone (Geneva) Karla Pollmann (Kent) VOLUME 380 The titles published in this series are listed at brill.com/mns-lal Studies in Colluthus’ Abduction of Helen By Cosetta Cadau LEIDEN | BOSTON Cover illustration: Ivory pyxis dating from the late fifth to the early sixth century AD. © The Walters Arts Museum, Baltimore. Library of Congress Cataloging-in-Publication Data Cadau, Cosetta, author. Studies in Colluthus’ Abduction of Helen / By Cosetta Cadau. pages cm. — (Mnemosyne supplements: Late Antique Literature ; 380) Includes bibliographical references and index. Summary: This first monograph in English on Colluthus situates this late antique author within his cultural context and offers a new appraisal of his hexameter poem The Abduction of Helen, the end-point of the pagan Greek epic tradition, which was composed in the Christianised Egyptian Thebaid. The book evaluates the poem’s connections with long-established and contemporary literary and artistic genres and with Neoplatonic philosophy, and analyzes the poet’s re-negotiation of traditional material to suit the expectations of a late fifth-century AD audience. It explores Colluthus’ interpretation of the contemporary fascination with visuality, identifies new connections between Colluthus and Claudian, and shows how the author’s engagement with the poetry of Nonnus goes much further than previously shown—Provided by publisher. ISBN 978-90-04-27950-6 (hardback : alk. paper) — ISBN 978-90-04-28959-8 (e-book) 1. Colluthus, of Lycopolis. -
Uncorrected Proofs
CHAPTER FIFTEEN Epigrams, Occasional Poetry, and Poetic Games Bret Mulligan We have cultivated a healthy skepticism toward talk of cultural renaissance and rejuvenation, terms that often reveal more about the vagaries of cultural transmission and the aesthetic priorities of the critic than about the reality of a past culture glimpsed through that ever‐hazy distant mirror. Yet when one surveys the breadth, multiplicity, and richness of poetic composition in late antiquity, one is hard pressed to resist those old categories. Greek and Latin, high and low, Christian and secular, reactionary and revolutionary, center and periphery, in East and West, on stone and vellum – everywhere one casts the eye, one spies poetry. A surge of creative interest and poetic capacity began in the early decades of the fourth century; crested in the first half of the fifth, and then ebbed until, by the mid‐seventh century, this moment had passed and something else had emerged. Here we will survey the broad vistas of short‐form poems, minor poetic genres, and occasional verse produced during later antiquity. Many of these are little poems about little things – artwork in baths, an epitaph for a pet bird, a silver dish. But small or minor need not make mean or trite: These were also significant works inscribed on monumental architecture and works of greater or lesser scale delivered to the temporal and spiritual masters of the world with keen pur- pose and real consequence. By necessity, our approach will be panoptic, and we will not spare a favorite device of late antique verse: the list. -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
One for the Road
One for the Road Stories only I can tell. Journeys you can make as well. _________________ Bjørn Christian Tørrissen Translated from Norwegian by a Babel fish URSINE SELF-PUBLISHING NOMADS One for the Road – Stories only I can tell. Journeys you can make as well. © Bjørn Christian Tørrissen 2008 Published by Lulu The book was first published in Norway in 2005 by Kolofon Forlag AS, under the Norwegian title I pose og sekk! Cover design in cooperation with Elisabeth V. Bjone Maps and photographs © Bjørn Christian Tørrissen [email protected] / www.bjornfree.com Set in Palatino Linotype ISBN: 978-1-84799-453-0 The small print: All rights reserved. Bjørn Christian Tørrissen is the author of this work. If you want to recycle anything in this book, obviously apart from just the actual paper, you have to ask him if it's okay first. He's very friendly and eager to share his works with the world, so don't worry. Just drop him an e-mail at [email protected] where you ask him nicely, and you'll probably receive a positive reply right away. Unless you're planning on making money from your reuse, that is. In that case we may have to talk things over a bit first. Preface (sort of) Hello there! Whether you've already bought the book or you're just considering it, I'd like to start off by explaining what sort of book this is. Or rather, I'd better explain what this book is not, as that's a whole lot easier to do. -
Midamble Final December 8.Indd
MIDAMBLE PETER JAEGER MIDAMBLE v if p then q classics 41 Fulford Street, Old Trafford, Manchester, M16 9PX www.ifpthenq.co.uk [email protected] Published by if p then q if p then q classics is part of the wider if p then q family © Peter Jaeger 2018 The first 26 copies of this book (printed with matte covers) have been lettered A-Z and signed by the author ISBN 978-1-9999547-0-3 Variations for Walkers and Pilgrims Relics Finding ourselves in a dark wood where the straight road no longer lay, we were often simple. Walking in order to research where we were in relation to our desire, we remembered surface. Coming across two roads that diverged in a wood, we stepped into the wood. Beginning nowhere, going nowhere, and arriving nowhere, we deepened the level. Wandering lonely as clouds, we thought ourselves mannered. Investigating the difference between the fantasy and the reality of walking, we clearly saw the void. Noticing that even the best walks—like the best books—had their moments of tedium, we left off modern thought. Treading on ground inhabited by our first human ancestors, we humanized A baby’s mind is mu a banquet arranged by the devil in an inn to lead the dominican monks into temptation a bektash dervish inhaling hashish a biographical note on yasutani-roshi a blessing and a curse a blind beggar receives his sight a body of broken bones a book a breastplate against death a bridge between two worlds a brief account of yoga philosophy a brief history of the medical skills from the monasteries a brief history of your life a brief history a brief introduction to life in the cloister a brief life- sketch of sri sankara a brother who sins against you a buddha a buddhist bible? a buffalo passes through a window a call to persevere a camel and the eye of a needle a cautionary tale of constraint. -
THE ENDURING GODDESS: Artemis and Mary, Mother of Jesus”
“THE ENDURING GODDESS: Artemis and Mary, Mother of Jesus” Carla Ionescu A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN HUMANITIES YORK UNIVERSITY TORONTO, ONTARIO May 2016 © Carla Ionescu, 2016 ii Abstract: Tradition states that the most popular Olympian deities are Apollo, Athena, Zeus and Dionysius. These divinities played key roles in the communal, political and ritual development of the Greco-Roman world. This work suggests that this deeply entrenched scholarly tradition is fissured with misunderstandings of Greek and Ephesian popular culture, and provides evidence that clearly suggests Artemis is the most prevalent and influential goddess of the Mediterranean, with roots embedded in the community and culture of this area that can be traced further back in time than even the arrival of the Greeks. In fact, Artemis’ reign is so fundamental to the cultural identity of her worshippers that even when facing the onslaught of early Christianity, she could not be deposed. Instead, she survived the conquering of this new religion under the guise of Mary, Mother of Jesus. Using methods of narrative analysis, as well as review of archeological findings, this work demonstrates that the customs devoted to the worship of Artemis were fundamental to the civic identity of her followers, particularly in the city of Ephesus in which Artemis reigned not only as Queen of Heaven, but also as Mother, Healer and Saviour. Reverence for her was as so deeply entrenched in the community of this city, that after her temple was destroyed, and Christian churches were built on top of her sacred places, her citizens brought forward the only female character in the new ruling religion of Christianity, the Virgin Mary, and re-named her Theotokos, Mother of God, within its city walls. -
Apokatanidis Katerina.Pdf (669.1Kb)
Gender Interplay in Nonnos’ Dionysiaka The cases of Deriades and Aura by Katerina Apokatanidis A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in Classical Studies Waterloo, Ontario, Canada, 2018 © Katerina Apokatanidis 2018 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This thesis presents the relation between the gendered language of Nonnos and the ironic undertones he employs to describe two main plot points in the Dionysiaka. I focus on Dionysos’ battle with Deriades, the Indian king, and Aura, the titan goddess of the breeze. In my first section, I argue that the irony employed to describe the death of Deriades is based on misperceptions of gender identity as he understands the world. Due to his fixity on the masculine extreme of the gender spectrum, Deriades has created a skewed view of the world which led to his demise by the gender-fluid Dionysos. His false perception is reflected in the text when Athena disguises herself as Morrheus, Deriades’ son-in-law, and comes to taunt him for fleeing the battle with Dionysos. Athena is herself a gender-fluid goddess as the masculine virgin goddess of Truth/Wisdom. Her disguise symbolises the loss of true understanding. For my second section, I examine the implications of the total loss of gender identity as experienced by Aura. -
Guide to the Charles Morton Agency Collection of American Popular Drama 1842-1950
University of Chicago Library Guide to the Charles Morton Agency Collection of American Popular Drama 1842-1950 © 2007 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Historical Note 3 Scope Note 6 Related Resources 10 Subject Headings 10 INVENTORY 10 Series I: Numbered Plays 10 Series II: Unnumbered Plays and Excerpts 124 Series III: Various Plays, Alphabetical 124 Series IV: Various Plays 139 Series V: Printed Playbills and Scripts 141 Descriptive Summary Identifier ICU.SPCL.MORTONAGENCY Title Morton, Charles, Agency. Collection of American Popular Drama Date 1842-1950 Size 48 linear ft. (96 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract The collection holds theatrical plays of the late 19th early 20th centuries, film screenplays from the Depression and New Deal periods, as well as television scripts from the 1950s. The majority of the plays were written, copyrighted, or possibly produced by Charles Morton and his agency. Information on Use Access No restrictions Citation When quoting material from this collection, the preferred citation is: Morton, Charles, Agency. Collection of American Popular Drama, [Box #, Folder #], Special Collections Research Center, University of Chicago Library Historical Note By the end of the 19th century in America there had developed a fairly large market for playbills and scripts of plays. Theater attendance had increased dramatically through the 19th century and had become progressively more accessible to a wider range of social classes and groups. Not surprisingly, a sort of “play piracy” developed as a consistent problem, particularly since the development of copyright law did not develop extensively until the 20th century.