CLEAR- Cahoots-Like Event at Rutgers Common-Link Mythology Packet by Jeremy Hixson
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TRUST FALL by Al Schnupp
1 TRUST FALL by Al Schnupp A Twisted Version of a Classic Tale with Four Puppet Interludes CHARACTERS Daedalus, sculptor and inventor, living in Piraeus, near Athens Icarus, son of Daedalus Lydia, model for Daedalus Takus, agent for Daedalus King Minos of Crete Ariadene, Daughter of King Minos Phidias, Sculptor from Athens Soldier King Cocalos of Sicily Cyrene, Daughter of King Cocalos PUPPET INTERLUDES (Ensemble of Puppeteers) 1. The Nighttime Adventures of Chickens - as Imagined by Icarus Performed in a manual cinema style – live animation with projected images made from acetate and paper. 2. Daedalus Conceives a Machine to Delight his Son Performed in a mechanical automaton style 3. The Strange Dream of Takus (The Sorcery of Medea/The Death of Pelias) Performed with marionettes. 4. Minos Continues His Mad Search for Daedalus Performed with a modified Bunraku-style puppet. These are jolly, fun-loving characters. Even in intense moments of conflict, there should be an underlying sense of humor, sass and mischievous exchange. Casting for seven actors: One actor can play Phidias, Soldier and King Cocalos. One actress can play Ariadene and Cyrene. Al Schnupp [email protected] 805-215-6462 www.playsanddesigns.com 2 SCENE ONE THE STUDIO OF DAEDALUS (LYDIA, a scantly-clad model in her early thirties, holds a pose as DAEDALUS , in his late thirties, hammers away at his stone sculpture. A long moment passes). LYDIA (Slowly). Do you ever wonder what your female subjects might be thinking as you chip away…sculpting them in stone? DAEDALUS No! LYDIA Until you do, your creatures will just be cock teasers…fantasies for desperate, lonely men…nothing more. -
Old Japan Redux 3
Old Japan Redux 3 Edited by X. Jie YANG February 2017 The cover painting is a section from 弱竹物語, National Diet Library. Old Japan Redux 3 Edited by X. Jie YANG, February 2017 Content Poem and Stories The Origins of Japan ……………………………………………… April Grace Petrascu 2 Journal of an Unnamed Samurai ………………………………… Myles Kristalovich 5 Holdout at Yoshino ……………………………………………………… Zachary Adrian 8 Memoirs of Ieyasu ……………………………………………………………… Selena Yu 12 Sword Tales ………………………………………………………………… Adam Cohen 15 Comics Creation of Japan …………………………………………………………… Karla Montilla 19 Yoshitsune & Benkei ………………………………………………………… Alicia Phan 34 The Story of Ashikaga Couple, others …………………… Qianhua Chen, Rui Yan 44 This is a collection of poem, stories and manga comics from the final reports submitted to Japanese Civilization, fall 2016. Please enjoy the young creativity and imagination! P a g e | 2 The Origins of Japan The Mythical History April Grace Petrascu At the beginning Izanagi and Izanami descended The universe was chaos Upon these islands The heavens and earth And began to wander them Just existed side by side Separately, the first time Like a yolk inside an egg When they met again, When heaven rose up Izanami called to him: The kami began to form “How lovely to see Four pairs of beings A man such as yourself here!” After two of genesis The first-time speech was ever used. Creating the shape of earth The male god, upset Izanagi, male That the first use of the tongue Izanami, the female Was used carelessly, Kami divided He once again circled the land By their gender, the only In an attempt to cool down Kami pair to be split so Once they met again, Both of these two gods Izanagi called to her: Emerged from heaven wanting “How lovely to see To build their own thing A woman like yourself here!” Upon the surface of earth The first time their love was matched. -
Kretan Cult and Customs, Especially in the Classical and Hellenistic Periods: a Religious, Social, and Political Study
i Kretan cult and customs, especially in the Classical and Hellenistic periods: a religious, social, and political study Thesis submitted for degree of MPhil Carolyn Schofield University College London ii Declaration I, Carolyn Schofield, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been acknowledged in the thesis. iii Abstract Ancient Krete perceived itself, and was perceived from outside, as rather different from the rest of Greece, particularly with respect to religion, social structure, and laws. The purpose of the thesis is to explore the bases for these perceptions and their accuracy. Krete’s self-perception is examined in the light of the account of Diodoros Siculus (Book 5, 64-80, allegedly based on Kretan sources), backed up by inscriptions and archaeology, while outside perceptions are derived mainly from other literary sources, including, inter alia, Homer, Strabo, Plato and Aristotle, Herodotos and Polybios; in both cases making reference also to the fragments and testimonia of ancient historians of Krete. While the main cult-epithets of Zeus on Krete – Diktaios, associated with pre-Greek inhabitants of eastern Krete, Idatas, associated with Dorian settlers, and Kretagenes, the symbol of the Hellenistic koinon - are almost unique to the island, those of Apollo are not, but there is good reason to believe that both Delphinios and Pythios originated on Krete, and evidence too that the Eleusinian Mysteries and Orphic and Dionysiac rites had much in common with early Kretan practice. The early institutionalization of pederasty, and the abduction of boys described by Ephoros, are unique to Krete, but the latter is distinct from rites of initiation to manhood, which continued later on Krete than elsewhere, and were associated with different gods. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
Ovid Book 12.30110457.Pdf
METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX. -
Honji Suijaku Faith
Japanese Journal of Religious Studies 16/2-3 Honji Suijaku Faith Susan Tyler The term shinbutsu shugo 神仏習合 is used when speaking of the early rapprochement of S h in to and Buddhism, while honji suijaku 本地垂逆 is most often used to refer to a theory according to which the kami were treated as incarnations of the Buddhist deities. This relationship 01 kami and buddhas is the major characteristic and apparent content of Buddhist/Shinto syncretism and the term konjt suijaku can be used to refer to fully developed syncretism. The impression given by most books about either Shinto or Bud dhism is that they were separate religions with borders that over lapped thanks to the theory of honji suijaku. On the other hand, innocent reading of texts such as Heike monogatari and observation of religious practice and religious places today suggest instead that mingled Shinto and Buddhism has been, and in some instances still is, an important system of belief and practice. Further investigation confirms this perception. Institutional mingling was pervasive enough to occasion widespread destruction when the religions were declared separate; and personal devotion was a complicated and effective par taking of both Shinto and Buddhism. The idea that Shinto can be studied separately from Buddhism, with still separate attention given to honji suijaku, is due not to a study of history, but to an overemphasis on doctrine to define reli gion and to the motives for the strict separation of Shinto and Buddhism, both in fact and in scholarship, from early Meiji until the end of the Second World War.* In reaction, it has recently 1 This is not due just to the attitude of scholars. -
The Story of IZUMO KAGURA What Is Kagura? Distinguishing Features of Izumo Kagura
The Story of IZUMO KAGURA What is Kagura? Distinguishing Features of Izumo Kagura This ritual dance is performed to purify the kagura site, with the performer carrying a Since ancient times, people in Japan have believed torimono (prop) while remaining unmasked. Various props are carried while the dance is that gods inhabit everything in nature such as rocks and History of Izumo Kagura Shichiza performed without wearing any masks. The name shichiza is said to derive from the seven trees. Human beings embodied spirits that resonated The Shimane Prefecture is a region which boasts performance steps that comprise it, but these steps vary by region. and sympathized with nature, thus treasured its a flourishing, nationally renowned kagura scene, aesthetic beauty. with over 200 kagura groups currently active in the The word kagura is believed to refer to festive prefecture. Within Shimane Prefecture, the regions of rituals carried out at kamikura (the seats of gods), Izumo, Iwami, and Oki have their own unique style of and its meaning suggests a “place for calling out and kagura. calming of the gods.” The theory posits that the word Kagura of the Izumo region, known as Izumo kamikuragoto (activity for the seats of gods) was Kagura, is best characterized by three parts: shichiza, shortened to kankura, which subsequently became shikisanba, and shinno. kagura. Shihoken Salt—signifying cleanliness—is used In the first stage, four dancers hold bells and hei (staffs with Shiokiyome paper streamers), followed by swords in the second stage of Sada Shinno (a UNESCO Intangible Cultural (Salt Purification) to purify the site and the attendees. -
Time and Space in Greek Myth and Religion. Nereida Villagra Patras 3-6 July 2015
Time and Space in Greek Myth and Religion. Nereida Villagra Patras 3-6 July 2015. Universidade de Lisboa [email protected] Time and space in the myth of Byblis and Caunus (Parth. 11, Conon 2, Ant. Lib. 30). Part. 11. Περὶ Βυβλίδος Ἱστορεῖ Ἀριστόκριτος περὶ Μιλήτου καὶ Ἀπολλώνιος ὁ Ῥόδιος Καύνου κτίσει. Περὶ δὲ Καύνου καὶ Βυβλίδος, τῶν Μιλήτου παίδων, διαφόρως ἱστορεῖται. Νικαίνετος μὲν γάρ φησι τὸν Καῦνον ἐρασθέντα τῆς ἀδελφῆς, ὡς οὐκ ἔληγε τοῦ πάθους ἀπολιπεῖν τὴν οἰκίαν καὶ ὁδεύσαντα πόρρω τῆς οἰκείας χώρας πόλιν τε κτίσαι καὶ τοὺς ἀπεσκεδασμένους τότε Ἴωνας ἐνοικίσαι. λέγει δὲ ἔπεσι τοῖσδε· αὐτὰρ ὅ γε προτέρωσε κιὼν Οἰκούσιον ἄστυ κτίσσατο, Τραγασίην δὲ Kελαινέος ἤγετο παῖδα ἥ οἱ Καῦνον ἔτικτεν ἀεὶ φιλέοντα θέμιστας. γείνατο δὲ ῥαδαλῇς ἐναλίγκιον ἀρκεύθοισι Βυβλίδα. τῆς ἤτοι ἀέκων ἠράσσατο Καῦνος. < > βῆ δὲ †φερένδιος† φεύγων ὀφιώδεα †Kύπρον†, καὶ †κάπρος ὑλιγενὲς† καὶ Κάρια ἱρὰ λοετρά. < > ἔνθ' ἤτοι πτολίεθρον ἐδείματο πρῶτος Ἰώνων. αὐτὴ δὲ γνωτὴ ὀλολυγόνος οἶτον ἔχουσα Βυβλὶς ἀποπρὸ πυλῶν Καύνου ὠδύρατο νόστον. οἱ δὲ πλείους τὴν Βυβλίδα φασὶν ἐρασθεῖσαν τοῦ Καύνου λόγους αὐτῷ προσφέρειν καὶ δεῖσθαι μὴ περιιδεῖν αὐτὴν εἰς πᾶν κακὸν προελθοῦσαν· ἀποστυγήσαντα δὲ οὕτως τὸν Καῦνον περαιωθῆναι εἰς τὴν τότε ὑπὸ Λελέγων κατεχομένην γῆν, ἔνθα κρήνη Ἐχενηΐς, πόλιν τε κτίσαι τὴν ἀπ' αὐτοῦ κληθεῖσαν Καῦνον. τὴν δὲ ἄρα ὑπὸ τοῦ πάθους μὴ ἀνιεμένην, πρὸς δὲ καὶ δοκοῦσαν αἰτίαν γεγονέναι Καύνῳ τῆς ἀπαλλαγῆς, ἀναψαμένην ἀπό τινος δρυὸς τὴν μίτραν ἐνθεῖναι τὸν τράχηλον. λέγεται δὲ καὶ παρ' ἡμῖν οὕτως· ἡ δ' ὅτε δή <ῥ'> ὀλοοῖο κασιγνήτου νόον ἔγνω, κλαῖεν ἀηδονίδων θαμινώτερον, αἵ τ' ἐνὶ βήσσῃς Σιθονίῳ κούρῳ πέρι μυρίον αἰάζουσιν. καί ῥα κατὰ στυφελοῖο σαρωνίδος αὐτίκα μίτρην ἁψαμένη δειρὴν ἐνεθήκατο· ταὶ δ' ἐπ' ἐκείνῃ βεύδεα παρθενικαὶ Μιλησίδες ἐρρήξαντο. -
Incest, Cannibalism, Filicide: Elements of the Thyestes Myth in Ovid’S Stories of Tereus and Myrrha
INCEST, CANNIBALISM, FILICIDE: ELEMENTS OF THE THYESTES MYTH IN OVID’S STORIES OF TEREUS AND MYRRHA Hannah Sorscher A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial ful- fillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2017 Approved by: Sharon L. James James J. O’Hara Emily Baragwanath © 2017 Hannah Sorscher ALL RIGHTS RESERVED ii ABSTRACT Hannah Sorscher: Incest, Cannibalism, Filicide: Elements of the Thyestes Myth in Ovid’s Stories of Tereus and Myrrha (Under the direction of Sharon L. James) This thesis analyzes key stories in Books 6–10 of Ovid’s Metamorphoses through a focus on the pair of stories that bookend the central section of the poem, the narratives of Tereus and Myrrha. These two stories exemplify the mythic types of the family-centered stories in Books 6– 10: Tereus’ is a tale of filicide (specifically, filial cannibalism), while Myrrha’s features incest. Ovid links these stories through themes and plot elements that are shared with the tragedy of Thyestes, a paradigmatic tragic myth encompassing both filial cannibalism and incest, otherwise untold in the Metamorphoses. Through allusions to Thyestes’ myth, Ovid binds together the se- quence of human dramas in the poem, beginning and ending with the Tereus and Myrrha stories. Furthermore, the poet reinforces and signals the connections between the stories through textual echoes, lexical formulations, and shared narrative elements. iii TABLE OF CONTENTS Introduction………………………………………………………………………………………..1 Thyestes…………………………………………………………………………………………...2 Lexical Connections……………………………………………………………………………...13 Conclusion…………………………………………………………………………………….....34 Works Cited…………………………………………………………………………………...…3 iv Introduction In the central books of Ovid’s Metamorphoses, six episodes share a dark but very Ovidi- an theme: the destruction of human families. -
Pelops Hippodamia Pelops Pelops Hippodamia Zeus
Tantalus = X Œnomaüs = Y Niobe Pelops = Hippodamia Chrysippus Lydia Pisa Mycenæ & Argos Peloponnese Hippodamia Pelops Hippodamia Pelops Pelops Hippodamia Zeus Œnomaüs Temple of Zeus, Olympia Tantalus = X Œnomaüs = Y Niobe Pelops = Hippodamia Pittheus Chysippus Atreus Thyestes Thebes Pisa Mycenæ & Argos Peloponnese Atreus vs Thyestes Sign 1: Golden Fleece Aëropē Sign 2: The Sun Delphic Oracle: Must beget child by own daughter, Pelopia Atreus = Aëropē Thyestes = X Pelopia Agamemnon Menelaus Ægisthus Mycenæ & Argos Sparta Recognition token: sword Leda wife of Tyndareus Leda Icarius Tyndareus = Leda Zeus Penelope Clytemnestra Castor Helen Polydeuces Clytemnestra = Agamemnon Helen = Menelaus Clytemnestra = Agamemnon Helen = Menelaus Iphigenia Orestes Electra Hermione Mycenæ / Argos Sparta Castor and Polydeuces Helen’s Suitors Oath of Tyndareus devised by Odysseus Winner: Menelaus Æacus = X (Ægina) Thetis = Peleus Telamon Phocus Achilles Telamonian Ajax (“The Greater”) (Phthia) (Salamis) Myrmidons = ant-men Phthia Salamis Ægina Peleus Thetis Eris Wedding of Peleus and Thetis Judgment of Paris Judgment of Paris Etruscan mirror Uni = Juno = Hera Menrfa = Minerva = Athena Turan = Venus = Aphrodite Georges Dumézil idéologie tripartite (three-part ideology) Sovereignty Kings Sanctity Hera Priests Law Warriors Military Power Athena Economy Peasants Fertility Aphrodite Production Priam = Hecuba Paris Hector many many (Alexander) (50+) (10+) other daughters sons Heinrich Schliemann discovered Troy (Wilusa) 1871 wife in “Helen’s Jewels” Where’s Odysseus? Odysseus = Penelope Telemachus Prophecy: Troy will not fall until/unless Achilles fights for the Greeks. Peleus = Thetis Achilles Achilles and Chiron Prophecy: Troy will not fall until/unless Achilles fights for the Greeks. Achilles on Scyros If I remain here, attacking city of the mighty Trojans, I lose my nostos, but I will have undying kleos. -
Missing Medea
Missing Medea by William Bernard Dow M.A. (Liberal Studies), Simon Fraser University, 2008 B.A., Athabasca University, 2003 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy under Special Arrangements with Dean of Graduate Studies Department of Humanities Faculty of Arts and Social Sciences © William Bernard Dow SIMON FRASER UNIVERSITY Summer 2013 Approval Name: William Bernard Dow Degree: Doctor of Philosophy Title of Thesis: Missing Medea Examining Committee: Chair: Dean of Graduate Studies or designate David Mirhady Senior Supervisor Professor Don Kugler Supervisor Professor School of Contemporary Arts Paul Budra Supervisor Associate Professor Department of English Anne-Marie Feenberg-Dibon Supervisor Associate Professor Anthony Podlecki Internal Examiner Professor Emeritus Classical, Near Eastern, and Religious Studies University of British Columbia Geoff Proehl External Examiner Professor Theatre Arts Department University of Puget Sound Date Defended/Approved: August 19, 2013 ii Partial Copyright Licence iii Abstract The focus of this project is to (re)create a trilogy of plays that bring the unfamiliar and largely forgotten stories of the tragic heroine Medea of Greek mythology to the modern stage. In each case the selection of narrative detail and decisions regarding presentational style are part of the ongoing task of re-visualizing antiquity. The first play, Cupid’s Arrow, focuses on the beginning of Medea’s doomed and tragic love for Jason as it was engineered by the goddess of marriage Hera and it draws from fragments of Sophocles’ play, the Colchides (Women of Colchis). The second, The Daughters of Pelias, is recreated from fragments and the supposed narrative of a play (Peliades now lost) that was in Euripides’ first ever production at the City Dionysia in 455 B.C. -
The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.