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The Heroes of Olympus Series Guide
The Heroes of OlympusSERIES GUIDE 9.25 IN This guide is aligned with the College and Career Readiness Anchor Standards (CCR) for Reading in the areas of Literature, Writing, and Language. The broad CCR standards are the foundation for the grade level–specific Common Core State Standards. Each question and activity in this guide includes a reference for a specific grade-level strand, domain, and standard. Disney • HYPERION BOOKS C50% B The Lost Hero Discussion Questions The following questions may be utilized throughout the series study as reflective writing prompts. Alternatively, they can be used as targeted questions for class discussion and reflection. 1 As the novel opens, Riordan tells us that Jason “woke in the backseat of a school bus, not sure where he was, holding hands with a girl he didn’t know.” Predict what role Jason’s lack of understanding about who he is will play in the novel. 2 Piper strives to make herself blend in, though Jason describes her as a “seriously pretty.” What are some of the reasons she prefers to remain unnoticed? What do these answers tell us about her personality? 3 The author uses some unusual first lines to introduce the chapters. Which one is your favorite? For what reason? 4 Explain the significance of being “claimed” for demigods. What is it about this tradition that provides campers at Camp Half-Blood a sense of belonging? 5 Leo harbors a great deal of guilt about the death of his mother. Is he justified in doing so? Have you ever felt a responsibility for events that were beyond your control? How did you work past feeling you were to blame? 6 Describe Jason, Piper, and Leo. -
Epigraphic Bulletin for Greek Religion 1996
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 12 | 1999 Varia Epigraphic Bulletin for Greek Religion 1996 Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou Electronic version URL: http://journals.openedition.org/kernos/724 DOI: 10.4000/kernos.724 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1999 Number of pages: 207-292 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou, « Epigraphic Bulletin for Greek Religion 1996 », Kernos [Online], 12 | 1999, Online since 13 April 2011, connection on 15 September 2020. URL : http://journals.openedition.org/kernos/724 Kernos Kemos, 12 (1999), p. 207-292. Epigtoaphic Bulletin for Greek Religion 1996 (EBGR 1996) The ninth issue of the BEGR contains only part of the epigraphie harvest of 1996; unforeseen circumstances have prevented me and my collaborators from covering all the publications of 1996, but we hope to close the gaps next year. We have also made several additions to previous issues. In the past years the BEGR had often summarized publications which were not primarily of epigraphie nature, thus tending to expand into an unavoidably incomplete bibliography of Greek religion. From this issue on we return to the original scope of this bulletin, whieh is to provide information on new epigraphie finds, new interpretations of inscriptions, epigraphieal corpora, and studies based p;imarily on the epigraphie material. Only if we focus on these types of books and articles, will we be able to present the newpublications without delays and, hopefully, without too many omissions. -
Phlegethon, a Nearby $75\Deg $-Long Retrograde Stellar Stream
Draft version September 12, 2018 Preprint typeset using LATEX style emulateapj v. 12/16/11 PHLEGETHON, A NEARBY 75◦-LONG RETROGRADE STELLAR STREAM Rodrigo A. Ibata1, Khyati Malhan1, Nicolas F. Martin1,2, and Else Starkenburg3 Draft version September 12, 2018 ABSTRACT We report the discovery of a 75◦ long stellar stream in Gaia DR2 catalog, found using the new STREAMFINDER algorithm. The structure is probably the remnant of a now fully disrupted globular cluster, lies ≈ 3:8 kpc away from the Sun in the direction of the Galactic bulge, and possesses highly retrograde motion. We find that the system orbits close to the Galactic plane at Galactocentric dis- tances between 4:9 and 19:8 kpc. The discovery of this extended and extremely low surface brightness −2 stream (ΣG ∼ 34:3 mag arcsec ) with a mass of only 2580 ± 140 M , demonstrates the power of the STREAMFINDER algorithm to detect even very nearby and ultra-faint structures. Due to its proximity and length we expect that Phlegethon will be a very useful probe of the Galactic acceleration field. Keywords: Galaxy: halo | Galaxy: stellar content | surveys | galaxies: formation | Galaxy: structure 1. INTRODUCTION through astrometric and photometric databases for The arrival of the second data release (DR2) of the stream-like structures. The first results of this algorithm Gaia mission has opened up the field of Galactic Archeol- applied to Gaia DR2 were presented in Malhan et al. ogy to exciting new endeavors that were previously com- (2018, hereafter paper II), but were limited to distances pletely out of reach. The excellent parallax and proper > 5 kpc, a choice that we made in order to reduce the motion measurements (Gaia Collaboration et al. -
Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above. -
The Heroes of Olympus 4: the House of Hades -Rick
The Heroes of Olympus 4: The House of Hades -Rick Riordan- BAB SATU HAZEL SAAT SERANGAN KETIGA BERLANGSUNG, HAZEL nyaris menelan sebongkah batu besar. Dia sedang menatap ke dalam kabut, bertanya-tanya mengapa sulit sekali terbang melintasi sebuah jajaran gunung tolol, ketika bel peringatan kapal berbunyi. "Segera belok kiri!" Nico berseru dari tiang depan kapal layar terbang itu. Di bagian kemudi kapal, Leo menyentakkan roda kemudi. Argo 2 membelok ke kiri, bilah- bilah dayung terbangnya mem-belah awan bagaikan deretan bilah pisau. Hazel melakukan kesalahan dengan menatap ke seberang langkan. Sebentuk benda bundar berwarna gelap meluncur ke arahnya. Dia bertanya-tanya: Mengapa bulan mendatangi kami? Kemudian, dia memekik dan mengempas ke geladak. Sebongkah batu besar melintas begitu dekat di atas kepalanya sampai-sampai rambutnya tertiup ke belakang. KRAK! Tiang depan ambruk—layar, tiang kapal, dan Nico, semuanya jatuh menghantam geladak. Batu besar itu, yang kira-kira seukuran truk pikap, terguling jatuh ke dalam kabut seakan-akan terburu-buru karena urusan penting di tempat lain. "Nico!" Hazel bergegas menghampirinya, sementara Leo menyeimbangkan kapal. "Aku tidak apa- apa," gumam Nico, sambil menendang lipatan kain kanvas hingga lepas dari kakinya. Hazel membantu Nico berdiri, lalu mereka berjalan tertatih-tatih menuju haluan. Hazel memeriksa dengan lebih cermat kali ini. Awan-awan memisah cukup lama sehingga puncak gunung di bawah mereka sempat terlihat: ujung batu hitam mencuat dari lereng-lereng hijau berlumut. Sesosok dewa gunung berdiri di puncaknya—salah satu dari numina montanum, demikian Jason menyebut mereka. Atau, ourae dalam bahasa Yunani. Apa pun sebutannya, mereka sangat keji. Seperti dewa gunung lain yang pernah mereka hadapi, dewa yang ini mengenakan tunik putih sederhana di atas kulit yang sekasar dan segelap basal. -
“Some Things Aren't Meant to Be Controlled” the Seductive Power Of
“Some Things Aren’t Meant to Be Controlled” The Seductive Power of Water in Rick Riordan’s Heroes of Olympus As the son of Poseidon, Rick Riordan’s Percy Jackson character derives power from water. Water strengthens him, and he is able to control it and even, at times, summon it. Initially, Riordan presents this power in a positive light. Water is pure, clean, and life-giving. It is a sacred force that seems largely benevolent. As the Percy Jackson series progresses (and particularly in its sequel series, The Heroes of Olympus), this characterization begins to shift. Percy’s power grows more threatening. He becomes an unstoppable force in The Final Battle, because of protection gained from the River Styx. In The Mark of Athena, he summons hurricanes and extracts water from the lungs of a drowning friend. He can control the Rivers of the Dead – bodies of water with terrible powers that cause pain, misery, and guilt and can even destroy the human body or mind. His power reaches a zenith in The House of Hades when he learns that he can even control poison and bodily fluids, almost choking the goddess Akhyls to death with her own tears. Although Percy could easily lose control of his powers, he is able to restrain himself when Annabeth reminds him that “some things aren’t meant to be controlled.” As with his rejection of the gods’ offer of immortality at the end of the first series, Percy again resists the lure of unchecked power Through the evolution of Percy’s powers, Riordan demonstrates both the refreshing and the turbulent aspects of water – a force that is both life-giving and threatening. -
Emily Blomquist Blomqst2 Pre-Quiz 5: Vergil’S Description of the Underworld
Emily Blomquist Blomqst2 Pre-Quiz 5: Vergil’s Description of the Underworld 1. There are five rivers that make up the underworld. What is unique about all five is that they all have negative attributes that represent them. The river of woe, Acheron, is the river that Charon would use to make new souls in the underworld. This is where Styx and Cocytus came from. The Cocytus is the river that is known for wailing. Its color is pitch black and wraps around the forests of the underworld. The third river is Styx, which came from Acheron. Styx is the river of hatred and separates the earth from the underworld. The next river is Phlegethon, the river of fire known as the burning river. It is said to flow into Tartarus. The last river in the underworld is Lethe. Lethe is described as where the dead go to drink to forget their past lives in order to begin a new one. The rivers in the underworld created an atmosphere of despair but also a way for the dead to begin a new life if they desired to. 2. Mythological Characters (4): Each punishment is unique and eternal. The gods are very creative when it comes to punishments Tityus: i. Crime: Attempted to rape Leto ii. Punishment: Vultures tear out and eat his liver every day that it grows back. His punishment lasts for the rest of his life until he dies. Ephialtes: i. Crime: Assaulted the heavens to try and tear it down as well as remove Jupiter as their king ii. -
Following the Dead to the Underworld an Archaeological Approach to Graeco-Roman Death Oracles
Chapter 10 Following the Dead to the Underworld An Archaeological Approach to Graeco- Roman Death Oracles Wiebke Friese But when in thy ship thou hast now crossed the stream of Okeanos, where is a level shore and the groves of Persephone – tall poplars, and willows that shed their fruit – there do thou beach thy ship by the deep eddying Okeanos, but go thyself to the dank house of Hades. There into Acheron flow Periphlegethon and Cocytus, which is a branch of the water of the Styx; and there is a rock, and the meeting place of the two roaring rivers. Thither, prince, do thou draw nigh, as I bid thee, and dig a pit of a cubit's length this way and that, and around it pour a libation to all the dead, first with milk and honey, thereafter with sweet wine, and in the third place with water, and sprinkle thereon white barley meal. And do thou earnestly entreat the powerless heads of the dead, vowing that when thou comest to Ithaca thou wilt sac- rifice in thy halls a barren heifer, the best thou hast, and wilt fill the altar with rich gifts; and that to Teiresias alone thou wilt sacrifice separately a ram, wholly black, the goodliest of thy flock. But when with prayers thou hast made supplication to the glorious tribes of the dead, then sacrifice a ram and a black ewe, turning their heads toward Erebos but thyself turning backward, and setting thy face towards the streams of the river. Then many ghosts of men that are dead will come forth. -
H2O and the Waters of Forgetfulness PDF Book
H2O AND THE WATERS OF FORGETFULNESS PDF, EPUB, EBOOK Ivan Illich | 112 pages | 01 Mar 2001 | Marion Boyars Publishers Ltd | 9780714528540 | English | London, United Kingdom H2O and the Waters of Forgetfulness PDF Book Though he drank from the river and was reincarnated as Euphorbus, Hermotius, Pyrrhus and then Pythagoras, he was still able to remember his previous lives and the knowledge he had gained in those incarnations. Goodreads helps you keep track of books you want to read. The first four lines of the poem are:. Not to be confused with Leath or Water of Leith. This critique applies equally to both the so-called developed and the developing nations but in different ways. Sign in. During the s he founded centers for cross-cultural communication, first in Puerto Rico and then in Cuernavaca, Mexico. This legend persisted until BC. Geller - November 7, 0. Achilles island Delos. Follow us. He studied theology, philosophy, history, and natural science. This act proved that the Lima was not as dangerous as the local myths described. Virgil's Aeneid. The French poet Charles Baudelaire referred to the river in his poem "Spleen". Dante, held in the arms of Matilda, is immersed in the Lethe so that he may wipe out all memory of sin Purg. Readers also enjoyed. Lethe was also the name of the personification of forgetfulness and oblivion, with whom the river was often associated. I love the title and the idea and the writer, but was a little disappointed with the actual book. The souls that throng the flood Are those to whom, by fate, are other bodies ow'd: In Lethe's lake they long oblivion taste, Of future life secure, forgetful of the past. -
Kennedy and the Tail of Minos J
Louisiana Law Review Volume 69 | Number 3 Spring 2009 Kennedy and the Tail of Minos J. Richardson Broughton Repository Citation J. Richardson Broughton, Kennedy and the Tail of Minos, 69 La. L. Rev. (2009) Available at: https://digitalcommons.law.lsu.edu/lalrev/vol69/iss3/4 This Article is brought to you for free and open access by the Law Reviews and Journals at LSU Law Digital Commons. It has been accepted for inclusion in Louisiana Law Review by an authorized editor of LSU Law Digital Commons. For more information, please contact [email protected]. Kennedy and the Tail of Minos J RichardBroughton* I. INTRODUCTION In Dante's Inferno, Minos sat as the ultimate judge of human sin.' Dante explains in Canto V that when the damned appeared in Hell, they would confess their sins to Minos, who would then wrap his tail around his body.2 The circle to which the soul was assigned was determined by the number of times that Minos wrapped his tail.3 Dante's recognition of Minos in this role was no accident: Minos, son of Zeus and Europa and king of Crete, was known as a wise and just ruler and lawgiver,4 and his role as a leading judge in the Underworld is described by Virgil 5 (who guides Dante's main character through Hell in the Inferno). Dante's description of the punishment in Hell and the procedure for receiving it provides important lessons for us with respect to the definition and administration of the criminal law. Of course, it reminds us that punishment matters, that who and to what extent we punish tells us about our morality, humanity, and our commitment to safeguarding the political community. -
Cerberus.Pdf
(lP,IIP,U' By Gaynor Borade Greek mythology comprises a huge pantheon, extensive use of anthropomorphism and mythical creatures that ore symbotic. Cerberus, the three headed dog was believed to be the guardian of the reotm of death, or Hades. Cerberus, it was believed, prevented those who crossed the river of death, Styx, from escoping. River Styx was supposed to be the boundory belween the Underworld and Earth. Greek mythology propounded thot Hodes or ihe Underworld wos encircled nine times by River Styx and thot the rivers Phlegethon, Cocytus, Lelhe, Eridanos and Acheron converged with Styx on the 'Great Marsh'. Cerberus guorded the Great Marsh. Importance of Styx in Greek Mythotogy: Hades ond Persephone were believed to be the mortol portals in the Underworld. This reotm wos atso home to Phlegyos or guardian of the River Phlegethon, Charon or Kharon, the ferrymon, ond the living waters of Styx. Styx wos believed to have miraculous powers thot could make o person immorfol, resulting in the grove need for it to be guorded. This reolm relates to the concept of 'hel[' in Christianity and the 'Paradise losf', in the Iiterary genius of 'The Divine Comedy'. In Greek myihology, the ferrymon Charon was in charge of iransporting souls across the Styx, into the Underworld. Here, it was believed thaf the sullen were drowned in Sfyx's muddy waters. Cerberus:The Guardion Cerberus, the mythical guordian of River Styx has been immorlalized through many works of ancient Greek liferoture, ort ond orchitecture. Cerberus is easity recognizabte among the other members of the pontheon due to his three heads. -
Kyd's Use of the Axiochus in the Spanish Tragedy
15 Kyd’s Use of the Axiochus in The Spanish Tragedy Frank Ardolino University of Hawaii Kyd’s description of the underworld justice system in The Spanish Tragedy is influenced by the afterworld depicted in book six of Virgil’s Aeneid and in the pseudo-Platonic dialogue Axiochus. Eugene Hill (148-51) has traced Kyd’s debt to Virgil, but no critic has analyzed Kyd’s use of the Axiochus and its effect on the interpretation of Hieronimo’s moral status as a revenge figure. The soul-body dichotomy is central to the dialogue, and it is used by Kyd in the opening lines of the play. Secondly, the dialogue refers specifically to descents by Bacchus and Hercules which resulted in Eleusinian initiation through the encounter with Proserpine. Kyd adapts this motif in having Andrea meet with Proserpine who sends him back to earth to witness the mystery play, which will provide his initiation into the nature of the just revenge operating in the play. Virgil does not emphasize a meeting with Proserpine, nor does he overtly frame Aeneas’s descent as a mystery rite, and, finally, he does not have Aeneas subjected to an underworld judgment concerning his moral status. Socrates assures Axiochus that because he has lived morally he will be sent to the Elysian Fields after he has died. Kyd parallels Andrea’s final underworld judgment, which sends Hieronimo’s enemies to Tartarus and rewards Hieronimo, Bel-imperia, Horatio, and Isabella with Elysian happiness, to the otherworld justice described in the dialogue and thus indicates that Hieronimo is not condemned as a mad revenger.