Irine Darchia (Tbilisi)
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Sesquicentennialpublists
In these lists an asterisk before the item indicates it is still available from Oxford University Press, either from stock or by print on demand. Philological Monographs The dates given are those of the original publications, issued by the APA or a contracted press in various cities. Many titles were reprinted by Scholars Press, and thirteen are still distributed by OUP. A few titles were reprinted by other publishers, as noted. *Taylor, Lily Ross. The Divinity of the Roman Emperor. Philological Monographs 1. 1931. Forbes, Clarence Allen. Neoi: A Contribution to the Study of Greek Associations (ΝΕΟΙ: A Contribution to the Study of Greek Associations). Philological Monographs 2. 1933. Oldfather, William Abbot; Canter, Howard Vernon; and Perry, Ben Edwin. Index Apuleianus. Philological Monographs 3. 1934. Post, Levi Arnold. The Vatican Plato and Its Relations. Philological Monographs 4. 1934. Robinson, Rodney P. The Germania of Tacitus: A Critical Edition. Philological Monographs 5. 1935. Rogers, R.S. Criminal Trials and Criminal Legislation Under Tiberius. Philological Monographs 6. 1935. *Perry, B. E. Studies in the Text History of the Life and Fables of Aesop. Philological Monographs 7. 1936. Greene, William Chase (with Frederic de Forest Allen, John Burnett, Charles Pomeroy Parker). Scholia Platonica. Philological Monographs 8. 1938. [reprint Georg Olms Verlag 1988] Wolff, Hans Julius. Written and Unwritten Marriages in Hellenistic and Post-Classical Roman Law. Philological Monographs 9. 1939. De Lacy, Phillip; De Lacy, Estelle. Philodemus: On Methods of Inference : A Study in Ancient Empiricism. Philological Monographs 10. 1941. *Pearson, Lionel. The Local Historians of Attica. Philological Monographs 11. 1942. *Lutz, Cora E. -
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1. This son of Zeus was the builder of the palaces on Mt. Olympus and the maker of Achilles’ armor. a. Apollo b. Dionysus c. Hephaestus d. Hermes 2. She was the first wife of Heracles; unfortunately, she was killed by Heracles in a fit of madness. a. Aethra b. Evadne c. Megara d. Penelope 3. He grew up as a fisherman and won fame for himself by slaying Medusa. a. Amphitryon b. Electryon c. Heracles d. Perseus 4. This girl was transformed into a sunflower after she was rejected by the Sun god. a. Arachne b. Clytie c. Leucothoe d. Myrrha 5. According to Hesiod, he was NOT a son of Cronus and Rhea. a. Brontes b. Hades c. Poseidon d. Zeus 6. He chose to die young but with great glory as opposed to dying in old age with no glory. a. Achilles b. Heracles c. Jason d. Perseus 7. This queen of the gods is often depicted as a jealous wife. a. Demeter b. Hera c. Hestia d. Thetis 8. This ruler of the Underworld had the least extra-marital affairs among the three brothers. a. Aeacus b. Hades c. Minos d. Rhadamanthys 9. He imprisoned his daughter because a prophesy said that her son would become his killer. a. Acrisius b. Heracles c. Perseus d. Theseus 10. He fled burning Troy on the shoulder of his son. a. Anchises b. Dardanus c. Laomedon d. Priam 11. He poked his eyes out after learning that he had married his own mother. -
Meet the Philosophers of Ancient Greece
Meet the Philosophers of Ancient Greece Everything You Always Wanted to Know About Ancient Greek Philosophy but didn’t Know Who to Ask Edited by Patricia F. O’Grady MEET THE PHILOSOPHERS OF ANCIENT GREECE Dedicated to the memory of Panagiotis, a humble man, who found pleasure when reading about the philosophers of Ancient Greece Meet the Philosophers of Ancient Greece Everything you always wanted to know about Ancient Greek philosophy but didn’t know who to ask Edited by PATRICIA F. O’GRADY Flinders University of South Australia © Patricia F. O’Grady 2005 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Patricia F. O’Grady has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identi.ed as the editor of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington Surrey, GU9 7PT VT 05401-4405 England USA Ashgate website: http://www.ashgate.com British Library Cataloguing in Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask 1. Philosophy, Ancient 2. Philosophers – Greece 3. Greece – Intellectual life – To 146 B.C. I. O’Grady, Patricia F. 180 Library of Congress Cataloging-in-Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask / Patricia F. -
Dissertation Master
APOSTROPHE TO THE GODS IN OVID’S METAMORPHOSES, LUCAN’S PHARSALIA, AND STATIUS’ THEBAID By BRIAN SEBASTIAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Brian Sebastian 2 To my students, for believing in me 3 ACKNOWLEDGMENTS A great many people over a great many years made this possible, more than I could possibly list here. I must first thank my wonderful, ideal dissertation committee chair, Dr. Victoria Pagán, for her sage advice, careful reading, and steadfast encouragement throughout this project. When I grow up, I hope I can become half the scholar she is. For their guidance and input, I also thank the members of my dissertation committee, Drs. Jennifer Rea, Robert Wagman, and Mary Watt. I am very lucky indeed to teach at the Seven Hills School, where the administration has given me generous financial support and where my colleagues and students have cheered me on at every point in this degree program. For putting up with all the hours, days, and weeks that I needed to be away from home in order to indulge this folly, I am endebted to my wife, Kari Olson. I am grateful for the best new friend that I made on this journey, Generosa Sangco-Jackson, who encouraged my enthusiasm for being a Gator and made feel like I was one of the cool kids whenever I was in Gainesville. I thank my parents, Ray and Cindy Sebastian, for without the work ethic they modeled for me, none of the success I have had in my academic life would have been possible. -
3 Wishes and Prayers for the Future the Poet As Prophet
3 Wishes and Prayers for the Future the poet as prophet In chapter 1, I looked at some ways in which the rhetoric, style, and placement of themes in the epinician ode are influenced by the con- cerns of the present moment—the immediate circumstances of the performance. In chapter 2, I explored the role played by the past in the epinician celebration, and brought out some ways in which the epinician perspective on the past, its function, and its significance are reflected in the performance conventions of the genre. In this third and final chapter, I turn to the topic of the future. I consider how the future functions as a theme in epinician poetry, and I explore the ways in which the future is relevant to the epicinian performance and cele- bration. One general function of the epinician ode is to situate the new athletic victory within a broader temporal framework. The epinician poet undertakes, among other things, to locate and interpret the sig- nificance of the victory not only in relation to present-day concerns and events of long ago, but also in the light of the future time that is to come. Consequently, wishes and prayers for the future are a promi- nent convention of the genre. The wishes and prayers for the future we find in Pindar’s epinician odes contain many allusions to the future’s uncertainty. They express the hope that the victor’s, his family’s, and his city’s happiness will continue into the future, but warn that present success guarantees nothing about the future. -
Pindar and Yeats: the Mythopoeic Vision
Colby Quarterly Volume 24 Issue 4 December Article 3 December 1988 Pindar and Yeats: The Mythopoeic Vision Ann L. Derrickson Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 24, no.4, December 1988, p.176-186 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Derrickson: Pindar and Yeats: The Mythopoeic Vision Pindar and Yeats: The Mythopoeic Vision by ANN L. DERRICKSON ROM THE Greece of Pindar to the Ireland of Yeats, 2,300 years canle Fcoursing down the riverbed of history, washing over the widening delta of poetry, leaving layers of political context and literary convention. Yet a shape emerges, despite the shifts of eras and of nations, a form fun damental to the lyric. Thinking about the two poets together, then, helps produce an understanding of what is basic to and defines the genre oflyric poetry. Its nature is not specifically a matter of theme but a relationship of reference; action serves to describe spirit. As in Yeats's phrase from "The Circus Animals' Desertion," the prime concern is "Character isolated by a deed." Because it is on this plane of human spirit that meaning distills from the works of Pindar and Yeats, their writing shares the label "lyric." For both poets the vital creative tension exists between a given occasion and its associated images, rather than between concepts of present and past or fact and fantasy. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
Torresson Umn 0130E 21011.Pdf
The Curious Case of Erysichthon A Dissertation SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Elizabeth Torresson IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advisor: Nita Krevans December 2019 © Elizabeth Torresson 2019 Acknowledgments First, I would like to thank the department for their support and especially the members of my committee: Nita Krevans, Susanna Ferlito, Jackie Murray, Christopher Nappa, and Melissa Harl Sellew. The seeds of this dissertation were planted in my senior year of college when Jackie Murray spread to me with her contagious enthusiasm a love of Hellenistic poetry. Without her genuine concern for my success and her guidance in those early years, I would not be where I am today. I also owe a shout-out to my undergraduate professors, especially Robin Mitchell-Boyask and Daniel Tompkins, who inspired my love of Classics. At the University of Minnesota, Nita Krevans took me under her wing and offered both emotional and intellectual support at various stages along the way. Her initial suggestions, patience, and encouragement allowed this dissertation to take the turn that it did. I am also very grateful to Christopher Nappa and Melissa Harl Sellew for their unflagging encouragement and kindness over the years. It was in Melissa’s seminar that an initial piece of this dissertation was begun. My heartfelt thanks also to Susanna Ferlito, who graciously stepped in at the last minute and offered valuable feedback, and to Susan Noakes, for offering independent studies so that I could develop my interest in Italian language and literature. -
Theopompus' Homer
Haverford College Haverford Scholarship Faculty Publications Classics 2020 Theopompus’ Homer: Paraepic in Old and Middle Comedy Matthew C. Farmer Follow this and additional works at: https://scholarship.haverford.edu/classics_facpubs THEOPOMPUS’ HOMER: PARAEPIC IN OLD AND MIDDLE COMEDY MATTHEW C. FARMER T IS A STRIKING FACT that, out of the twenty titles preserved for the late fifth- and early fourth-century comic poet Theopompus, three directly reference I Homer’s Odyssey: Odysseus, Penelope, and Sirens. In one fragment (F 34) preserved without title but probably belonging to one of these plays, Odysseus himself is the speaking character; he quotes the text of the Odyssey, approv- ingly.1 Another fragment (F 31), evidently drawn from a comedy with a more contemporary focus, mocks a politician in a run of Homeric hexameters. Theo- pompus was, it seems, a comic poet with a strong interest in paraepic comedy, that is, in comedy that generates its humor by parodying, quoting, or referring to Homeric epic poetry. In composing paraepic comedy, Theopompus was operating within a long tra- dition. Among the earliest known Homeric parodies, Hipponax provides our first certain example, a fragment in which the poet invokes the muse and deploys Homeric language to mock a glutton (F 128). The Margites, a poem composed in a mixture of hexameters and trimeters recounting the story of a certain fool in marked Homeric language, may have been composed as early as the seventh cen- tury BCE, but was certainly known in Athens by the fifth or fourth.2 In the late -
Copyright by Thomas James Bolt 2019
Copyright by Thomas James Bolt 2019 The Dissertation Committee for Thomas James Bolt Certifies that this is the approved version of the following Dissertation: Delusions of Grandeur: Humor, Genre, and Aesthetics in the Poetry of Statius Committee: Pramit Chaudhuri, Supervisor Neil Coffee Ayelet Haimson Lushkov Alison Keith Andrew Riggsby Delusions of Grandeur: Humor, Genre, and Aesthetics in the Poetry of Statius by Thomas James Bolt Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2019 Dedication To my parents Acknowledgements I have been fortunate enough to have received support from many sources to whom I am forever grateful. First thanks must go to my supervisor, Pramit Chaudhuri. His patience, guidance, and keen eye for detail have been essential for the successful completion of this project. Each word in this dissertation has benefitted from his thoughtful consideration. He has consistently challenged me to think about literature in more creative and deeper ways, and this dissertation — to say nothing of my scholarly perspective as a whole — is much the better for it. I also thank Ayelet Haimson Lushkov. Apart from her characteristically insightful commentary on this project, I will always be thankful that she took me under her wing while I was a first-year graduate student and assured me that it was, in fact, okay to become a Latinist. Andrew Riggsby, Alison Keith, and Neil Coffee provided invaluable insights and feedback on this project. -
Shen-Yen-I and the Shahnameh and the Possible Influence of the Former Upon the Persian Epic
Some Parallels Between the Feng- Shen-Yen-I and the Shahnameh and the Possible Influence of the Former Upon the Persian Epic By P a ul G. B rew st er That many of the characters in the Shahnameh have their counterparts in Saka legend has long been known by scholars, as has also the fact that there exist Chinese parallels of many of the apisodes in that epic. That Firdausi was himself aware of these admits of little doubt. It has been noted by students of the Shahnameh that in every legend with a parallel in the Chinese he has invariably included some lines unquestionably referring to China. When the Sakas, whose country originally extended from Bactria to Gandhar, were displaced by the Yueh-chi (c. 160 B.C., according to Chinese sources), they moved in two directions, to the south and east and to the west (the Herat, Seistan, Kash gar, and Bactria area). Parts of the former group appear to have wandered down to Northwest India, the main body remain ing in the Kashgar and Khotan region. It appears likely that both India and Persia were influenced, at least to some extent, by Saka dialects.1 It was in the west, too, that the Sakas came in contact with the Parthians, two of whose kings were slain in battles against them. There is a strong probability that it was the Parthians who gave to the Shahnameh the basic form in which it was later recorded by the Sassanians and, still later, came into the hands of Firdausi. -
Bulfinch's Mythology
Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34