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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Macedonian Kings, Egyptian Pharaohs the Ptolemaic Family In
Department of World Cultures University of Helsinki Helsinki Macedonian Kings, Egyptian Pharaohs The Ptolemaic Family in the Encomiastic Poems of Callimachus Iiro Laukola ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XV, University Main Building, on the 23rd of September, 2016 at 12 o’clock. Helsinki 2016 © Iiro Laukola 2016 ISBN 978-951-51-2383-1 (paperback.) ISBN 978-951-51-2384-8 (PDF) Unigrafia Helsinki 2016 Abstract The interaction between Greek and Egyptian cultural concepts has been an intense yet controversial topic in studies about Ptolemaic Egypt. The present study partakes in this discussion with an analysis of the encomiastic poems of Callimachus of Cyrene (c. 305 – c. 240 BC). The success of the Ptolemaic Dynasty is crystallized in the juxtaposing of the different roles of a Greek ǴdzȅǻǽǷȏȄ and of an Egyptian Pharaoh, and this study gives a glimpse of this political and ideological endeavour through the poetry of Callimachus. The contribution of the present work is to situate Callimachus in the core of the Ptolemaic court. Callimachus was a proponent of the Ptolemaic rule. By reappraising the traditional Greek beliefs, he examined the bicultural rule of the Ptolemies in his encomiastic poems. This work critically examines six Callimachean hymns, namely to Zeus, to Apollo, to Artemis, to Delos, to Athena and to Demeter together with the Victory of Berenice, the Lock of Berenice and the Ektheosis of Arsinoe. Characterized by ambiguous imagery, the hymns inspect the ruptures in Greek thought during the Hellenistic age. -
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. -
Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011)
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 27 | 2014 Varia Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) Angelos Chaniotis Electronic version URL: http://journals.openedition.org/kernos/2266 DOI: 10.4000/kernos.2266 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 November 2014 Number of pages: 321-378 ISBN: 978-2-87562-055-2 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, « Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) », Kernos [Online], 27 | 2014, Online since 01 October 2016, connection on 15 September 2020. URL : http:// journals.openedition.org/kernos/2266 This text was automatically generated on 15 September 2020. Kernos Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) 1 Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) Angelos Chaniotis 1 The 24th issue of the Epigraphic Bulletin for Greek Religion presents epigraphic publications of 2011 and additions to earlier issues (publications of 2006–2010). Publications that could not be considered here, for reasons of space, will be presented in EBGR 2012. They include two of the most important books of 2011: N. PAPAZARKADAS’ Sacred and Public Land in Ancient Athens, Oxford 2011 and H.S. VERSNEL’s Coping with the Gods: Wayward Readings in Greek Theology, Leiden 2011. 2 A series of new important corpora is included in this issue. Two new IG volumes present the inscriptions of Eastern Lokris (119) and the first part of the inscriptions of Kos (21); the latter corpus is of great significance for the study of Greek religion, as it contains a large number of cult regulations; among the new texts, we single out the ‘sacred law of the tribe of the Elpanoridai’ in Halasarna. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
The Shield As Pedagogical Tool in Aeschylus' Seven Against Thebes
АНТИЧНОЕ ВОСПИТАНИЕ ВОИНА ЧЕРЕЗ ПРИЗМУ АРХЕОЛОГИИ, ФИЛОЛОГИИ И ИСТОРИИ ПЕДАГОГИКИ THE SHIELD AS PEDAGOGICAL TOOL IN AESCHYLUS’ SEVEN AGAINST THEBES* Victoria K. PICHUGINA The article analyzes the descriptions of warriors in Aeschylus’s tragedy Seven against Thebes that are given in the “shield scene” and determines the pedagogical dimension of this tragedy. Aeschylus pays special attention to the decoration of the shields of the com- manders who attacked Thebes, relying on two different ways of dec- orating the shields that Homer describes in The Iliad. According to George Henry Chase’s terminology, in Homer, Achilles’ shield can be called “a decorative” shield, and Agamemnon’s shield is referred to as “a terrible” shield. Aeschylus turns the description of the shield decoration of the commanders attacking Thebes into a core element of the plot in Seven against Thebes, maximizing the connection be- tween the image on the shield and the shield-bearer. He created an elaborate system of “terrible” and “decorative” shields (Aesch. Sept. 375-676), as well as of the shields that cannot be categorized as “ter- rible” and “decorative” (Aesch. Sept. 19; 43; 91; 100; 160). The analysis of this system made it possible to put forward and prove three hypothetical assumptions: 1) In Aeschylus, Eteocles demands from the Thebans to win or die, focusing on the fact that the city cre- ated a special educational space for them and raised them as shield- bearers. His patriotic speeches and, later, his judgments expressed in the “shield scene” demonstrate a desire to justify and then test the educational concept “ἢ τὰν ἢ ἐπὶ τᾶς” (“either with it, or upon it”) (Plut. -
The Historical Background of the Trojan War
447 The Historical Background of the Trojan War. By John L. Myres and K. T. Frost. 1. Rameses III. and the Sea-Haiders. To give complete and accurate account of events in the Levant during the twelfth and thirteenth centuries B. C. is one of the most diffi- cult tasks presented by ancient history. It is also one of the most fasci- nating; for it must include not only a summary of what is known of the peoples of Asia Minor, Syria and Egypt, but also a survey of the My- cenean Age, and the Late Minoan "Sea-Raiders". It is moreover the historical background of the Trojan War. It was a time of great unrest, of fierce invasions and national migrations, whose effects lasted long. At the turn of the Century, in 1200 B. C. these are the main lines of the picture. From the Adriatic Sea to the Persian Gulf a large pro- portion of cities and tribes were independent of any great overlord. Knossos had been OTerthrown for some two centuries and although partly reinhabited it no longer ruled the waves, and the Mediterranean was swept by the Late Minoan sea-rovers. Egypt was powerless abroad and decadent at home. Babylon was just driving out the Kassites who had ruled for some centuries, and as yet the new native dynasty had little influence outside^). Assyria, whose power had greatly declined since the death of Tukulti-Ninib some forty years earlier, was beginning to reassert herseif but was still fully occupied in guarding her own frontiers. The empire of the Hittites was being finally overthrown by a fierce invasion of the Muski Phrygians who had crossed from Europe and were devastating Asia Minor. -
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. -
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. -
Elegy with Epic Consequences: Elegiac Themes in Statius' Thebaid
Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the Department of Classics of the College of Arts and Sciences by Carina Moss B.A. Bucknell University April 2020 Committee Chairs: Lauren D. Ginsberg, Ph.D., Kathryn J. Gutzwiller, Ph.D. Abstract This dissertation examines the role of elegy in the Thebaid by Statius, from allusion at the level of words or phrases to broad thematic resonance. It argues that Statius attributes elegiac language and themes to characters throughout the epic, especially women. Statius thus activates certain women in the epic as disruptors, emphasizing the ideological conflict between the genres of Latin love elegy and epic poetry. While previous scholarship has emphasized the importance of Statius’ epic predecessors, or the prominence of tragic allusion in the plot, my dissertation centers the role of elegy in this epic. First, I argue that Statius relies on allusion to the genre of elegy to signal the true divine agent of the civil war at Thebes: Vulcan. Vulcan’s erotic jealousy over Venus’ affair with Mars leads him to create the Necklace of Harmonia. Imbued with elegiac resonance, the necklace comes to Argia with corrupted elegiac imagery. Statius characterizes Argia within the dynamic of the elegiac relicta puella and uses this framework to explain Argia’s gift of the necklace to Eriphyle and her advocacy for Argos’ involvement in the war. By observing the full weight of the elegiac imagery in these scenes, I show that Argia mistakenly causes the death of Polynices and the devastation at Thebes as the result of Vulcan’s elegiac curse. -
Major Themes and Motifs in the Dionysiaca
chapter 6 Major Themes and Motifs in the Dionysiaca Fotini Hadjittofi A feature which will immediately strike the first-time reader of Nonnus’ Dionysiaca is the poet’s penchant for creating formulaic scenes or expressions: verses can be repeated verbatim or in a slightly varied form, and passages can be recast several times, with different protagonists and only minor alterations.1 These recurrent scenes and expressions are certainly a manifestation of Nonnus’ aesthetic principle of ποικιλία (variatio),2 and have an obvious role to play in structuring the poem. For example, in looking for unifying threads that would tie together the disparate episodes of the Dionysiaca, scholars have identified a set of close structural parallels between the first and last books of the epic.3 Thus, the narrative proper begins with a rape (of Europa, by Zeus) and ends with a rape (of Aura, by Dionysus). The Typhonomachy, in which Zeus defeats Typhoeus, in Books 1–2 corresponds to the Gigantomachy, in which Dionysus defeats the Giants of Thrace, in Book 48. The tragic narratives of Actaeon (Book 5) and Pentheus (Books 44–46) clearly echo each other. Even though this chapter will often focus on the thematic correspondences between the first and last books (as themes which appear in these narratively privileged positions are likely to be fundamental for the whole poem), it does not aim to explore structural questions, such as how far we can push these particular similarities and to what extent Nonnus was indeed striving for a perfect ring composition.4 My aim is to provide an outline of the most important themes and motifs which recur throughout the entire epic, and which will be studied 1 The formularity of Nonnus’ language will not concern me in this chapter, but see D’Ippolito in this volume. -
Classical Mythology in John Keats’S ‘Hyperion Poems’ and Dan Simmons’S Hyperion and the Fall of Hyperion
PROTEAN DEITIES: CLASSICAL MYTHOLOGY IN JOHN KEATS’S ‘HYPERION POEMS’ AND DAN SIMMONS’S HYPERION AND THE FALL OF HYPERION by HERCO JACOBUS STEYN submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: DR DW LLOYD February 2011 Declaration of Own Work Student number: 4198-288-6 I, the undersigned, declare that this dissertation, entitled “Protean Deities: Classical Mythology in John Keats’s ‘Hyperion Poems’ and Dan Simmons’s Hyperion and The Fall of Hyperion”, is my own work and that all the sources I have used or quoted have been indicated and acknowledged by means of complete references. _____________________________ _____________________________ Signature: Mr HJ Steyn Date Acknowledgements I would like to express my sincerest gratitude to the following two individuals: • My supervisor, Dr David Lloyd, for his sustained support and guidance. As I have come to understand, there is a vast difference between knowing the path and walking the path, and he was the master of showing me the path, yet allowing me genuinely to find my own voice within the dissertation. • My wife, Leonét, for comprehending the importance of this dissertation to me personally, for continuously encouraging me to persist, for unshakably believing in my abilities, and, above all, for her unconditional love. Contents Summary .............................................................................................................................. i Introduction........................................................................................................................