Chapter 3: an Introduction to Classical Mythology
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The Dawn in Erewhon"
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences December 2007 Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Patrick Dillon [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Recommended Citation Dillon, Patrick, "Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon"" 10 December 2007. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/23. Revised version, posted 10 December 2007. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/23 For more information, please contact [email protected]. Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Abstract In "The Dawn in Erewhon", the concluding novella of Tatlin!, Guy Davenport explores the myth of Orpheus in the context of two storylines: Adriaan van Hovendaal, a thinly veiled version of Ludwig Wittgenstein, and an updated retelling of Samuel Butler's utopian novel Erewhon. Davenport tells the story in a disjunctive style and uses the Orpheus myth as a symbol to refer to a creative sensibility that has been lost in modern technological civilization but is recoverable through art. Keywords Charles Bernstein, Bernstein, Charles, English, Guy Davenport, Davenport, Orpheus, Tatlin, Dawn in Erewhon, Erewhon, ludite, luditism Comments Revised version, posted 10 December 2007. This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/23 Dimensions of Erewhon The Modern Orpheus in Guy Davenport’s “The Dawn in Erewhon” Patrick Dillon Introduction: The Assemblage Style Although Tatlin! is Guy Davenport’s first collection of fiction, it is the work of a fully mature artist. -
Herakles Iconography on Tyrrhenian Amphorae
HERAKLES ICONOGRAPHY ON TYRRHENIAN AMPHORAE _____________________________________________ A Thesis presented to the Faculty of the Graduate School University of Missouri-Columbia _____________________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts ______________________________________________ by MEGAN LYNNE THOMSEN Dr. Susan Langdon, Thesis Supervisor DECEMBER 2005 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Susan Langdon, and the other members of my committee, Dr. Marcus Rautman and Dr. David Schenker, for their help during this process. Also, thanks must be given to my family and friends who were a constant support and listening ear this past year. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………ii LIST OF ILLUSTRATIONS……………………………………………………………..v Chapter 1. TYRRHENIAN AMPHORAE—A BRIEF STUDY…..……………………....1 Early Studies Characteristics of Decoration on Tyrrhenian Amphorae Attribution Studies: Identifying Painters and Workshops Market Considerations Recent Scholarship The Present Study 2. HERAKLES ON TYRRHENIAN AMPHORAE………………………….…30 Herakles in Vase-Painting Herakles and the Amazons Herakles, Nessos and Deianeira Other Myths of Herakles Etruscan Imitators and Contemporary Vase-Painting 3. HERAKLES AND THE FUNERARY CONTEXT………………………..…48 Herakles in Etruria Etruscan Concepts of Death and the Underworld Etruscan Funerary Banquets and Games 4. CONCLUSION………………………………………………………………..67 iii APPENDIX: Herakles Myths on Tyrrhenian Amphorae……………………………...…72 BIBLIOGRAPHY………………………………………………………………………..77 ILLUSTRATIONS………………………………………………………………………82 iv LIST OF ILLUSTRATIONS Figure Page 1. Tyrrhenian Amphora by Guglielmi Painter. Bloomington, IUAM 73.6. Herakles fights Nessos (Side A), Four youths on horseback (Side B). Photos taken by Megan Thomsen 82 2. Tyrrhenian Amphora (Beazley #310039) by Fallow Deer Painter. Munich, Antikensammlungen 1428. Photo CVA, MUNICH, MUSEUM ANTIKER KLEINKUNST 7, PL. 322.3 83 3. Tyrrhenian Amphora (Beazley #310045) by Timiades Painter (name vase). -
Julius Firmicus Maternus: De Errore Profanarum Religionum
RICE UNIVERSITY JULIUS FIRMICUS MATERNUS: DE ERRORE PROFANARUM RELIGIONUM. INTRODUCTION, TRANSLATION AND COMMENTARY by Richard E. Oster, Jr. A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Thesis Director's Signature: Houston, Texas May 1971 ABSTRACT JULIUS FIRMICUS MATERNUS: DE ERRORE PROFANARUM RELIGIONUM. INTRODUCTION, TRANSLATION AND COMMENTARY BY Richard E. Oster, Jr. B.A. Texas Technological College M.A. Rice University Julius Firmicus Maternus, author of De Errore Profanarum Religiomm. and Mathesis, is an important but oftentimes over¬ looked writer from the middle of the fourth century. He is known to us only from the two works which he left behind, the former being a Christian polemic against pagan religion and the latter, a work he wrote while still a pagan, being on the subject of astrology. It is his Christian work which is the topic of this thesis. The middle of the fourth century when Firmicus wrote his work, A.D. 346-350, was a time of religious change and struggle in the Roman Empire. Within Christianity there were still troubles over the issues which precipitated the Council of Nicea. Outside of the church, paganism, though on the defensive, was still strong. Legislation had been passed against the pagan cults but it was not being enforced. So, about A.D. 348, a Roman Senator, Julius Firmicus Maternus, wrote a letter Concerning the Error of Profane 1 2 Religions to the Emperors Constans and Constantius. The first section of this work, chapters 1-17, presents the various gods of antiquity. Firmicus ridicules these by de¬ picting the crimes and immorality of the gods, by showing that the pagan gods were nothing more than personified elements or processes of nature. -
Chthonic Aspects of Macdonald's Phantastes: from the Rising of The
Chthonic Aspects of MacDonald’s Phantastes: From the Rising of the Goddess to the Anodos of Anodos Fernando Soto The Herios was a woman’s festival. Plutarch of course could not be present at the secret ceremonies of the Thyaiades, but his friend Thyia, their president, would tell him all a man might know . From the rites known to him he promptly conjectured that it was a “Bringing up of Semele.” Semele, it is acknowledged, is but a Thraco-Phrygian form of Gaia, The “Bringing up of Semele” is but the Anodos of Gala or of Kore the Earth Maiden. It is the Return of the vegetation or Year-Spirit in the spring. (Jane Harrison, Themis 416) 1. Introduction and General Backgrounds hantastes is one of the most mysterious books George MacDonald wrote andP one of the least understood books in the English tradition. Since its publication in 1858, reviewers, readers and researchers have experienced great difficulties understanding the meaning of this complex work.The perceived impediments have been so great that some scholars remain unsure whether Phantastes contains a coherent plot or structure (Reis 87, 89, 93-94; Robb 85, 97; etc.). Other critics appear adamant that it contains neither (Wolff 50; Manlove, Modern 55, 71, 77, 79; England 65, 93, 122). Even those scholars who sense a structure or perceive a plot differ not only regarding the types of structure(s) and/or plot(s) they acknowledge (Docherty 17-22; McGillis “Community” 51-63; Gunther “First Two” 32-42), but in deciding into what, if any, genres or traditions Phantastes belongs (Prickett, “Bildungsroman” 109-23; Docherty 19, 23, 30, McGillis, “Femininity” 31-45; etc.). -
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. -
The Disputes Between Appion and Clement in the Pseudo-Clementine Homilies: a Narrative and Rhetorical Approach to the Structure of Hom
The Disputes between Appion and Clement in the Pseudo-Clementine Homilies: A Narrative and Rhetorical Approach to the Structure of Hom. 6 BENJAMIN DE VOS Ghent University Introduction This contribution offers, in the first place (1), a structural and rhetorical reading of the debates on the third day between Clement and Appion in the Pseudo-Clem- entine Homilies (Hom. 6) and shows that there is a well-considered rhetorical ring structure in their disputes. Connected with this first point (2), the suggested read- ing will unravel how Clement and Appion use and manipulate their sophisticated rhetoric, linked to this particular structure. This is well worth considering since these debates deal with Greek paideia, which means culture and above all educa- tion, of which rhetorical education forms part. The rhetorical features will be dis- played as a fine product of the rhetorical and even sophistic background in Late Antiquity. Clement, moreover, will present himself as a master in rhetoric against Appion, who is presented as a sophist and a grammarian in the Pseudo-Clemen- tine Homilies. Until now, the Pseudo-Clementine research context concerning Hom. 6 has focused on two aspects. First, several researchers have examined to which tradition of Orphic Cosmogonies the Homilistic version, included in the speech of Appion, belongs. Secondly, according to some scholars, the disputes between Appion and Clement have an abrupt ending. However, they have not looked at the structure and function of the general debate between Clement and Appion and of the whole work. Finally (3), the reappraisal of the rhetorical dy- namics in and the narrative structure of Hom. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
Athena ΑΘΗΝΑ Zeus ΖΕΥΣ Poseidon ΠΟΣΕΙΔΩΝ Hades ΑΙΔΗΣ
gods ΑΠΟΛΛΩΝ ΑΡΤΕΜΙΣ ΑΘΗΝΑ ΔΙΟΝΥΣΟΣ Athena Greek name Apollo Artemis Minerva Roman name Dionysus Diana Bacchus The god of music, poetry, The goddess of nature The goddess of wisdom, The god of wine and art, and of the sun and the hunt the crafts, and military strategy and of the theater Olympian Son of Zeus by Semele ΕΡΜΗΣ gods Twin children ΗΦΑΙΣΤΟΣ Hermes of Zeus by Zeus swallowed his first Mercury Leto, born wife, Metis, and as a on Delos result Athena was born ΑΡΗΣ Hephaestos The messenger of the gods, full-grown from Vulcan and the god of boundaries Son of Zeus the head of Zeus. Ares by Maia, a Mars The god of the forge who must spend daughter The god and of artisans part of each year in of Atlas of war Persephone the underworld as the consort of Hades ΑΙΔΗΣ ΖΕΥΣ ΕΣΤΙΑ ΔΗΜΗΤΗΡ Zeus ΗΡΑ ΠΟΣΕΙΔΩΝ Hades Jupiter Hera Poseidon Hestia Pluto Demeter The king of the gods, Juno Vesta Ceres Neptune The goddess of The god of the the god of the sky The goddess The god of the sea, the hearth, underworld The goddess of and of thunder of women “The Earth-shaker” household, the harvest and marriage and state ΑΦΡΟΔΙΤΗ Hekate The goddess Aphrodite First-generation Second- generation of magic Venus ΡΕΑ Titans ΚΡΟΝΟΣ Titans The goddess of MagnaRhea Mater Astraeus love and beauty Mnemosyne Kronos Saturn Deucalion Pallas & Perses Pyrrha Kronos cut off the genitals Crius of his father Uranus and threw them into the sea, and Asteria Aphrodite arose from them. -
Lecture 18 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 18 Good morning and welcome to LLT121 Classical Mythology. In the next two or three class periods, we will be considering the goddess Artemis and her twin brother Apollo, two deities who, to a greater or lesser, extent represent this idea that the ancient Greeks must bow down before the divine. If you will recall from our last few class meetings, we talked about Dionysus, the god who was the externalization of partying, wine, and ecstatic possession, feel the power, feel the god inside you, feel the burn, and tear a few live animals apart. We also discussed the goddess Aphrodite, that wild and crazy goddess who is the externalization of the power of love, the power that, if you are lucky, at some point or another in your life, turns your mind to Jell-o and turns you into a love automaton. I wish you all such good luck. This is one half of the Greek psyche and this is one half of everybody’s psyche. The other half is represented by Artemis and Apollo, a goddess and a god who stand for getting a grip. Artemis is a virgin. She guards her virginity jealously. We’re going to go over a few stories this morning talking about what a bad career move it is to try to put the moves on the goddess Artemis. The god Apollo is not exactly chased. He is a bundle of contradictions, which represents, in and of himself, the full range of contradictions located, again, in the human psyche. When I believe it was Nietzsche who wanted to formulate his idea of the cosmic, he didn’t take out, oh, say, Artemis and Aphrodite. -
Nemesis Free Download
NEMESIS FREE DOWNLOAD Jo Nesbo | 501 pages | 28 Feb 2012 | HarperCollins Publishers Inc | 9780062119698 | English | New York, NY, United States NEMIS - SIS Edit Did You Know? Introduced in Resident Evil 3the Nemesis-T Type was designed under the concept of a "huge, overpowering monster that could use weapons and intelligently track you anywhere. Quotes Sam : Should we take them Nemesis now? But Niobe paid for it by passing into a changeling form, that daughter of Tantalos Tantalus whose Nemesis were her sorrow, and she still weeps with stony eyes; I alone am insulted and bear my disgrace without vengeance, but Aura the champion of chastity has washed no Nemesis with tears, she has seen no fountain Nemesis the faults of her uncontrolled Nemesis. Resident Evil 3 Added to Watchlist. Choru s: Wise are they who do homage to Adrasteia the Inescapable. Max Impact Yuji Okumoto Apuleius, The Golden Ass Pindar, Olympian Nemesis 8. I suppose it is a sort of nemesis of Nemesis the skidding of a wheel in the height of its speed. The Nemesis also appears in the remake of Resident Evil 3: Nemesiscalled Nemesis Evil 3which in the Nemesis boss fight, wields a flamethrower. With Nemesis frown the stern Rhamnusian [Nemesis] gave heed, and first she Nemesis out his muscles and set a Nemesis in his eyes and raised his head higher than of wont; deadly alas! RohdePsyche,i. Following the game's debut inthe Nemesis became one of the most recognizable and popular characters in the Resident Evil series. Will Nemesis one set her mark upon no house, Nemesis the other must straightway fix it with her grim glance, and with savage hand make havoc of its gladness? Nemesis in her bird form lays an egg that is discovered in the Nemesis by Nemesis shepherd, who passes the egg to Leda. -
Introduction to Classical Mythology
Introduction To Classical Mythology GREEK and Roman mythology is quite generally supposed to show us the way the human race thought and felt untold ages ago. Through it, according to this view, we can retrace the path from civilized man who lives so far from nature, to man who lived in close companionship with nature; and the real interest of the myths is that they lead us back to a time when the world was young and people had a connection with the earth, with trees and seas and flowers and hills, unlike anything we ourselves can feel. When the stories were being shaped, we are given to understand, little distinction had as yet been made between the real and the unreal. The imagination was vividly alive and not checked by the reason, so that anyone in the woods might see through the trees a fleeing nymph, or bending over a clear pool to drink behold in the depths a naiad’s face. The prospect of traveling back to this delightful state of things is held out by nearly every writer who touches upon classical mythology, above all by the poets. In that infinitely remote time primitive man could Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathed horn. And we for a moment can catch, through the myths he made, a glimpse of that strangely and beautifully animated world. But a very brief consideration of the ways of uncivilized peoples everywhere and in all ages is enough to prick that romantic bubble. Nothing is clearer than the fact that primitive man, whether in New Guinea today or eons ago in the prehistoric wilderness, is not and never has been a creature who peoples his world with bright fancies and lovely visions. -
Petrarch (1304-74) Wreath', from Laurus 'Laurel'.] Leaves Are Also Like the Medium of the Poet—L’Aura Put on Paper
Themes: “Love at first sight, obsessive yearning and love sickness, frustration, love as parallel to feudal service; the lady as ideally beautiful, ideally virtuous, miraculous, beloved in Heaven and destined to earthly death; love as virtue, love as idolatry, love as sensuality; the god of love with his arrows, fires, whips, and chains; war within the self—hope, fear, joy, sorrow.” Approaches: “Conceits, wit, urbane cleverness; disputations and scholastic precision; allegory, personification; wooing, exhortation, outcry; praise, blame; self-examination, self-accusation, self- defense; repentance and farewell to love” [from Robert M. Durling’s Petrarch’s Lyric Poems] Laura: Laura was idealized in 366 poems (one for every day of the year) in his Rime Sparse (Scattered Rhymes). Petrarch claimed she was real, but her name, played upon in Italian in the poems, also epitomizes poetic ideals (Laud = praise; L’aura = breath, spirit; L’oro = gold; Laurel = laureate: (n.) a person who is honoured with an award for outstanding creative or intellectual achievement: a Nobel Laureate or Poet Laureate. (adj.) wreathed with laurel as a mark of honor; (of a crown or wreath) consisting of laurel. [ORIGIN: from Latin laureatus, from laurea 'laurel Petrarch (1304-74) wreath', from laurus 'laurel'.] Leaves are also like the medium of the poet—l’aura put on paper. “Daphne and Apollo” Gian Lorenzo Bernini (1622-25) “Daphne and Apollo” J.W. Waterhouse (1908) Apollo and Daphne: Daphne was Apollo's first love. It was not brought about by accident, but by the malice of Cupid. Apollo saw the boy playing with his bow and arrows; and he said to him, "What have you to do with warlike weapons, saucy boy? Leave them for hands worthy of them.” Venus's boy [Cupid] heard these words, and rejoined, "Your arrows may strike all things else, Apollo, but mine shall strike you." So saying, he drew from his quiver two arrows of different workmanship, one to excite love, the other to repel it.