Centaurs and Lapiths in the Landscape of Thessaly
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Ouranós-Gaia
Ouranós-Gaia L’espai a Grècia III: anomenar l’espai Ouranós-Gaia L’espai a Grècia III: anomenar l’espai Montserrat Jufresa, Montserrat Reig, Jesús Carruesco, Gemma Fortea, Roger Miralles i Isabel Rodà (editors) Abstracts in English Institut d’Estudis Catalans Institut Català d’Arqueologia Clàssica Tarragona, 2013 Biblioteca de CataIunya – Dades CIP Col·loqui Internacional sobre la Concepció de l’Espai a Grècia (3r : 2010 : Tarragona, Catalunya i Barcelona, Catalunya) Ouranós-Gaia : l’espai a Grècia III : anomenar l’espai. – (Documenta ; 27) Aquesta obra recull les aportacions al III Col·loqui Internacional sobre la Concepció de l’Espai a Grècia, celebrat els dies 29 i 30 de novembre de 2010, a Tarragona i Barcelona. – Bibliografia. – Textos en francès, castellà, italià i anglès, portada, presentació i introducció en català, resums en anglès ISBN 9788499651736 (Institut d’Estudis Catalans). – ISBN 9788494056536 (Institut Català d’Arqueologia Clàssica) I. Jufresa, Montserrat, ed. II. Institut d’Estudis Catalans III. Institut Català d’Arqueologia Clàssica IV. Títol V. Títol: Espai a Grècia III VI. Col·lecció: Documenta (Institut Català d’Arqueologia Clàssica) ; 27 1. Espai – Filosofia – Grècia – Congressos 114(38)(061.3) Aquesta obra recull les aportacions del III Col·loqui Internacional sobre la Concepció de l’Espai a Grècia, celebrat els dies 29 i 30 de no- vembre de 2010 i coorganitzat per la Societat Catalana d’Estudis Clàssics (filial de l’Institut d’Estudis Catalans) i l’ICAC, en el marc del programa de recerca PT2008-S0404 de l’IEC, amb el suport del programa d’ajuts ARCS 2010 de la Generalitat de Catalunya. -
The Cave of the Nymphs at Pharsalus Brill Studies in Greek and Roman Epigraphy
The Cave of the Nymphs at Pharsalus Brill Studies in Greek and Roman Epigraphy Editorial Board John Bodel (Brown University) Adele Scafuro (Brown University) VOLUME 6 The titles published in this series are listed at brill.com/bsgre The Cave of the Nymphs at Pharsalus Studies on a Thessalian Country Shrine By Robert S. Wagman LEIDEN | BOSTON Cover illustration: Pharsala. View of the Karapla hill and the cave of the Nymphs from N, 1922 (SAIA, Archivio Fotografico B 326) Library of Congress Cataloging-in-Publication Data Names: Wagman, Robert S. Title: The Cave of the Nymphs at Pharsalus : studies on a Thessalian country shrine / by Robert S. Wagman. Description: Boston : Brill, 2015. | Series: Brill studies in Greek and Roman epigraphy, ISSN 1876-2557 ; volume 6 | Includes bibliographical references and indexes. Identifiers: LCCN 2015032381| ISBN 9789004297616 (hardback : alk. paper) | ISBN 9789004297623 (e-book) Subjects: LCSH: Thessaly (Greece)—Antiquities. | Excavations (Archaeology)—Greece—Thessaly. | Inscriptions—Greece—Thessaly. | Farsala (Greece)—Antiquities. | Excavations (Archaeology)—Greece—Farsala. | Inscriptions—Greece—Farsala. | Nymphs (Greek deities) Classification: LCC DF221.T4 W34 2015 | DDC 938/.2—dc23 LC record available at http://lccn.loc.gov/2015032381 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. issn 1876-2557 isbn 978-90-04-29761-6 (hardback) isbn 978-90-04-29762-3 (e-book) Copyright 2016 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. -
The Death of Eurydice Orpheus' Descent Into Hades
Myth #4 Orpheus and Eurydice Name _____________________________________ READ CLOSELY AND SHOW EVIDENCE OF THINKING BY ANNOTATING. Annotate all readings by highlighting the main idea in yellow; the best evidence supporting in blue, and any interesting phrases in green. As it is only fitting, Orpheus, “the father of songs” and the supreme musician in Greek mythology, was the son of one of the Muses, generally said to be Calliope, by either Apollo or the Thracian king Oeagrus. Be that as it may, we know for sure that Orpheus got a golden lyre as a gift from Apollo when just a child, and that it was the god who taught him how to play it in such a beautiful manner. Moreover, his mother showed him how to add verses to the music, and his eight aunts how to polish them to perfection, in every style known to man. So, when Orpheus was a young man, as Shakespeare writes, his “golden touch could soften steel and stones, make tigers tame, and huge leviathans forsake unsounded deeps to dance on sands.” Loved by many, this young man loved only the beautiful Eurydice; and she loved him back. This is the story of their tragic love. The Death of Eurydice Soon after the marriage of Orpheus and Eurydice, Eurydice died of a snake bite. Different authors tell different stories as to what led to the fatal encounter. According to the most repeated story, Eurydice fell into a serpent nest after trying to escape from a certain Aristaeus, a shepherd who began to chase her through the forest as soon as he laid his eyes upon her otherworldly beauty. -
Excerpt from Euripides' Herakles
Excerpt from Euripides’ Herakles (lines 1189-1426) The action up until now: The goddess Hera has sent Madness upon Herakles. Madness has driven Herakles to kill his wife and his children. He mistook them for his enemies, being under the influence of Madness. Herakles is just coming out of the frenzied state he was in, and beginning to realise what he has done. He is contemplating suicide. Suddenly, Theseus of Athens appears on the scene. After a discussion with Herakles’ father Amphitryon, Theseus learns what has happened. At this moment, Herakles is lying in among his dead family members, ashamed of his actions, not wanting Theseus to see his face. I have included some lines here of the discussion between Theseus and Amphitryon, that will lead into the essential discussion between Herakles and Theseus. Theseus What do you mean? What has he done? Amphitryon Slain them in a wild fit of frenzy with arrows dipped in the venom of the hundred-headed hydra. Theseus This is Hera's work; but who lies there among the dead, old man? Amphitryon My son, my own enduring son, that marched with gods to Phlegra's plain, there to battle with giants and slay them, warrior that he was. Theseus Ah, ah! whose fortune was ever so cursed as his? Amphitryon Never will you find another mortal that has suffered more or been driven harder. Theseus Why does he veil his head, poor wretch, in his robe? Amphitryon He is ashamed to meet your eye; his kinsman's kind intent and his children's blood make him abashed. -
See-Your-Skills-Products.Pdf
Grundtvig - See your skills Project Partners France (Coordinator) Austria Greece Italy Poland Spain 2 Grundtvig - See your skills ABOUT THE PROJECT SUMARY This project proposes a cooperation to exchange the good practices in terms of evaluation and development of the key competences. This partnership is constituted from 6 countries, and targets in each of those 6 regions 2 groups: G1/the actors in the employment and training sectors (trainers, social workers, teachers, entrepreneurs, HR managers ...etc) and G2/the vulnerable populations that are excluded from the employment and training markets (isolated women and single mothers, migrants, adults living in rural areas and/or territories in economic decline, disabled people, as well as people close to illiteracy. After proceeding with a comparative diagnosis of the modes and practices that are used to evaluate the basic competences, with the actors of the employment and training sectors in every country, the partnership will experiment and produce tools and methods for an initial evaluation of the basic competences, that are related to the 8 key competences defined in the European reference framework. These experiments will allow the partners to produce together individualised plans for the development of competences, in favour of the final beneficiaries (G2) and the implementation of training modules to evaluate the key competences in direction of the professionals (G1) which would allow them to adapt their practices to the diversity of problems faced by the vulnerable groups. 3 Grundtvig - See your skills PROJECT OBJECTIVES AND STRATEGY This partnership aims at 3 objectives: 1. Identify, analyse and exchange the good practices in terms of evaluation and development of key competences in favour of the groups who are in a situation of social and professional exclusion. -
The Herodotos Project (OSU-Ugent): Studies in Ancient Ethnography
Faculty of Literature and Philosophy Julie Boeten The Herodotos Project (OSU-UGent): Studies in Ancient Ethnography Barbarians in Strabo’s ‘Geography’ (Abii-Ionians) With a case-study: the Cappadocians Master thesis submitted in fulfilment of the requirements for the degree of Master in Linguistics and Literature, Greek and Latin. 2015 Promotor: Prof. Dr. Mark Janse UGent Department of Greek Linguistics Co-Promotores: Prof. Brian Joseph Ohio State University Dr. Christopher Brown Ohio State University ACKNOWLEDGMENT In this acknowledgment I would like to thank everybody who has in some way been a part of this master thesis. First and foremost I want to thank my promotor Prof. Janse for giving me the opportunity to write my thesis in the context of the Herodotos Project, and for giving me suggestions and answering my questions. I am also grateful to Prof. Joseph and Dr. Brown, who have given Anke and me the chance to be a part of the Herodotos Project and who have consented into being our co- promotores. On a whole other level I wish to express my thanks to my parents, without whom I would not have been able to study at all. They have also supported me throughout the writing process and have read parts of the draft. Finally, I would also like to thank Kenneth, for being there for me and for correcting some passages of the thesis. Julie Boeten NEDERLANDSE SAMENVATTING Deze scriptie is geschreven in het kader van het Herodotos Project, een onderneming van de Ohio State University in samenwerking met UGent. De doelstelling van het project is het aanleggen van een databank met alle volkeren die gekend waren in de oudheid. -
MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats. -
The Foundation and Occupation of Kastro Kallithea, Thessaly, Greece Laura Surtees Bryn Mawr College, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship, Research, and Creative Work at Bryn Mawr College | Bryn Mawr College... Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 2014 Exploring Kastro Kallithea on the Surface: The Foundation and Occupation of Kastro Kallithea, Thessaly, Greece Laura Surtees Bryn Mawr College, [email protected] Sophia Karapanou Margriet J. Haagsma Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Archaeological Anthropology Commons Custom Citation L. Surtees, S, Karapanou, and M.J. Haagsma. "Exploring Kastro Kallithea on the Surface:The oundF ation and Occupation of Kastro Kallithea, Thessaly, Greece." In D. Rupp and J. Tomlinson (eds.), Meditations on the Diversity of the Built Environment in the Aegean Basin and Beyond: Proceedings of a Colloquium in Memory of Frederick E. Winter, Athens, 22-23 June 2012 (Publications of the Canadian Institute in Greece 8) (2014). Athens: 431-452. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/163 For more information, please contact [email protected]. Meditations on the Diversity of the Built Environment in the Aegean Basin and Beyond Proceedings of a Colloquium in Memory of Frederick E. Winter Athens, 22-23 June 2012 2014 Publications of the Canadian Institute in Greece Publications de l’Institut canadien en Grèce No. 8 © The Canadian Institute in Greece / L’Institut canadien en Grèce 2014 Library and Archives Canada Cataloguing in Publication Meditations on the Diversity of the Built Environment in the Aegean Basin and Beyond : a Colloquium in Memory of Frederick E. -
Greece, the Land Where Myths Replaces Reality
GREECE, THE LAND WHERE MYTHS REPLACE REALITY (Myths about Epirus) What is myth and what does it serve? Myth is a narrative based usually on a false story which can not be used as a replacement of history, but sometimes myth might be considered a distorted account of a real historical event. The myth does not differ much from a folktale and usually the boundary between them is very thin. Myth must not be used to reconstruct, however in the ancient society of the so called “”Ancient Greeks”” myth was usually regarded as a true account for a remote past. Surprisingly this ‘tradition’ is descended to the Modern Greeks as well. They never loose the chance to use the myths and the mythology of a remote past and to pose them as their real ethnic history. This job is being done combining the ancient myths with the ones already created in the modern era. Now let’s take a look at two Greek myths, respectively one ancient and one modern, while our job is to prove that even these myths are respectively hijacked or created to join realities not related to each other, but unfortunately propagandized belonging to a real history, the history of the Greek race. Thus before we analyze and expose some of their myths which are uncountable, we are inclined to say that whatever is considered Greek History is completely based on mythical stories, whose reliability and truthiness is deeply compromised for the mere fact that is based on myths not only by the Modern Greeks and especially philhellenes, but even by the ancient authors. -
A HISTORY of the PELASGIAN THEORY. FEW Peoples Of
A HISTORY OF THE PELASGIAN THEORY. FEW peoples of the ancient world have given rise to so much controversy as the Pelasgians; and of few, after some centuries of discussion, is so little clearly established. Like the Phoenicians, the Celts, and of recent years the Teutons, they have been a peg upon which to hang all sorts of speculation ; and whenever an inconvenient circumstance has deranged the symmetry of a theory, it has been safe to ' call it Pelasgian and pass on.' One main reason for this ill-repute, into which the Pelasgian name has fallen, has been the very uncritical fashion in which the ancient statements about the Pelasgians have commonly been mishandled. It has been the custom to treat passages from Homer, from Herodotus, from Ephorus, and from Pausanias, as if they were so many interchangeable bricks to build up the speculative edifice; as if it needed no proof that genealogies found sum- marized in Pausanias or Apollodorus ' were taken by them from poems of the same class with the Theogony, or from ancient treatises, or from prevalent opinions ;' as if, further, ' if we find them mentioning the Pelasgian nation, they do at all events belong to an age when that name and people had nothing of the mystery which they bore to the eyes of the later Greeks, for instance of Strabo;' and as though (in the same passage) a statement of Stephanus of Byzantium about Pelasgians in Italy ' were evidence to the same effect, perfectly unexceptionable and as strictly historical as the case will admit of 1 No one doubts, of course, either that popular tradition may transmit, or that late writers may transcribe, statements which come from very early, and even from contemporary sources. -
Jusepe De Ribera's Ixion and Tityus in the Seventeenth-Century S
The Confrontation with Horror and the Practice of Restraint: Jusepe de Ribera’s Ixion and Tityus in the Seventeenth-Century Spanish Court Klea Hawkins The Department of Art History and Communication Studies McGill University, Montréal April 2018 Hawkins 1 Table of Contents 1. Abstract/ Résumé ………………………………………………………………………...2 2. Acknowledgements ………………………………………………………………………4 3. List of Figures ……………………………………………………………………............5 4. Introduction ……………………………………………………………………………....6 5. The Power of Horror …………………………………………………………………….11 6. The Dangers of Horror …………………………………………………………………. 20 7. Controlling Horror ……………………………………………………………………....32 8. Conclusion ……………………………………………………………………………... 42 9. Figures …………………………………………………………………………………. 44 10. Bibliography …………………………………………………………………………… 51 Hawkins 2 Abstract In 1632 the Neapolitan artist Jusepe de Ribera, created some of the most violently gruesome and vividly haunting paintings of his career. These were the over life-size and nightmarish paintings of Ixion and Tityus intended for the walls of King Philip IV’s newly inaugurated Buen Retiro Palace on the outskirts of Madrid. The artist’s lively depictions of bodily torture and physical pain were surely intended to shock and horrify beholders at the Spanish court. Although the sensorial and affective dimensions of Ribera’s naturalism, particularly the artist’s violent depictions of wounded flesh, have been recently taken up by art historians, this thesis focuses specifically on the experience of horror elicited by Ribera’s works, an issue that has been largely overlooked. Early modern theories about the role of horror in the arts provide a useful means to examine the intended moral functions of Ribera’s Ixion and Tityus. As such, this thesis takes up the question of the role of gruesome imagery designed to have a visceral impact on beholders and asks how Ixion and Tityus were intended to function in the courtly context of the Buen Retiro. -
Tityus: a Forgotten Myth of Liver Regeneration
Review Tityus: A forgotten myth of liver regeneration Dina G. Tiniakosa,*, Apostolos Kandilisa, Stephen A. Gellerb aLaboratory of Histology & Embryology, Medical School, National & Kapodistrian University of Athens, Athens, Greece; bDepartment of Pathology and Laboratory Medicine, Cedars-Sinai Medical Center, Los Angeles, CA, USA Abstract abound including the sacrifice of self for the sake of mankind The ancient Greek myth of Tityus is related to liver regenera- and the price of knowledge [5]. In different eras, the fight tion in the same way as the well known myth of Prometheus between Zeus and Prometheus has represented battles between is. Depictions of the punishment of Prometheus are frequently freedom and oppression, individual against state, man versus used by lecturers on liver regeneration; however, Tityus remains God, and sense against absurdity [6]. unknown despite the fact that he received the same punishment As long as a millennium or more before the Prometheus myth, and his myth could also be used as a paradigm for the organ’s the Sumerian water god, Enki, also defied the king of the gods, his extraordinary ability to regenerate. Nevertheless, there is no con- brother, the air-god, Enlil [7,8]. Sumeria was where modern Iraq is vincing evidence that ancient Greeks had any specific knowledge now located. Indeed, one depiction of Enki shows two streams of about liver regeneration, a concept introduced in the early 19th water emanating from his shoulders, representing the Tigris and century. We describe and analyze the myth of Tityus and com- the Euprhates rivers. Enlil decides to destroy humanity, angered pare it to the myth of Prometheus.