Ceramic-Fibreglass SWIMMING POOLS the Smallest of the Nautilus Swimming Pool Models
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Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Japan's ERATO and PRESTO Basic Research Programs
Japanese Technology Evaluation Center JTEC JTEC Panel Report on Japan’s ERATO and PRESTO Basic Research Programs George Gamota (Panel Chair) William E. Bentley Rita R. Colwell Paul J. Herer David Kahaner Tamami Kusuda Jay Lee John M. Rowell Leo Young September 1996 International Technology Research Institute R.D. Shelton, Director Geoffrey M. Holdridge, WTEC Director Loyola College in Maryland 4501 North Charles Street Baltimore, Maryland 21210-2699 JTEC PANEL ON JAPAN’S ERATO AND PRESTO PROGRAMS Sponsored by the National Science Foundation and the Department of Commerce of the United States Government George Gamota (Panel Chair) David K. Kahaner Science & Technology Management Associates Asian Technology Information Program 17 Solomon Pierce Road 6 15 21 Roppongi, Harks Roppongi Bldg. 1F Lexington, MA 02173 Minato ku, Tokyo 106 Japan William E. Bentley Tamami Kusuda University of Maryland 5000 Battery Ln., Apt. #506 Dept. of Chemical Engineering Bethesda, MD 20814 College Park, MD 20742 Jay Lee Rita R. Colwell National Science Foundation University of Maryland 4201 Wilson Blvd., Rm. 585 Biotechnology Institute Arlington, VA 22230 College Park, MD 20740 John Rowell Paul J. Herer 102 Exeter Dr. National Science Foundation Berkeley Heights, NJ 07922 4201 Wilson Blvd., Rm. 505 Arlington, VA 22230 Leo Young 6407 Maiden Lane Bethesda, MD 20817 INTERNATIONAL TECHNOLOGY RESEARCH INSTITUTE WTEC PROGRAM The World Technology Evaluation Center (WTEC) at Loyola College (previously known as the Japanese Technology Evaluation Center, JTEC) provides assessments of foreign research and development in selected technologies under a cooperative agreement with the National Science Foundation (NSF). Loyola's International Technology Research Institute (ITRI), R.D. -
Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact). -
Mythology in Poetry
Mythology in AP Poetry Andromeda sorrowing father was close at hand, and her mother too. They were Andromeda was the princess of Ethiopia, daughter of Cepheus and both in deep distress, though the mother had more cause to be so Cassiopeia. Cassiopeia was a boastful woman, and foolishly bragged (Metamorphoses IV 674-692) Perseus said to her parents that he that she was more beautiful than Juno, the queen of the gods, and the would kill the monster if they agree to give him their daughter's hand Nereids. In order to avenge the insult to his nymphs, Neptune sent a in marriage. They of course gave their consent, and Perseus killed the sea monster to ravage the Ethiopian coast. (Some accounts state that monster. (His exact method of doing so varies in different versions of the constellation Cetus represents the sea monster, but a more the myth. Ovid has Perseus stab the monster to death after a drawn- common view of Cetus is that he is a peaceful whale.) out, bloody battle, while other versions have the hero simply hold up the head of Medusa, turning the monster to stone.) Andromeda was The horrified king consulted Ammon, the oracle of Jupiter, who said freed, and the two joyously marry. that Neptune could be appeased only by sacrificing Cassiopeia's *Andromeda is represented in the sky as the figure of a woman with beautiful virgin daughter, Andromeda, to the monster. Andromeda her arms outstretched and chained at the wrists. was duly chained to a rock on the coast, fully exposed to the monster. -
Greek Gods/Mythology Notes - Information on the Greek Belief System Comes from Many Sources
Greek Gods/Mythology Notes - Information on the Greek belief system comes from many sources. Unlike followers of religions such as Christianity, Judaism, & Islam, the Greeks did not have a single sacred text, such as the Bible or Koran from which their beliefs and religious practices derived. Instead, they generally used oral traditions, passed on by word of mouth, to relate sacred stories. Priest and priestesses to various gods would also guide people in worship in various temples across Greece. We know something about these beliefs because Greek poets such as Homer, Hesiod and Pindar, and Greek dramatists such as Euripides, Aristophanes & Sophocles mention the myths in their various works. Greek mythology, however, was not static- it was constantly changing and evolving. Thus, there are often many different versions (and some that are contradictory toward one another) of the various Greek myths. Thus, some of the example myths you read in here may differ from ones you have previously heard. It does not necessarily make either version “wrong”- simply different. - The Greeks had many Gods & Goddesses- over three thousand if one were to count the many minor gods and goddesses. These deities made up the Greek pantheon, a word used to mean all the gods and goddesses (from the Greek word “pan” meaning all, and “theos” meaning gods). However, throughout Greece, there were always twelve (called the Twelve Olympians) that were the most important. They are: 1. Zeus 2. Hera 3. Poseidon 4. Athena 5. Apollo 6. Artemis 7. Hephaestus 8. Ares 9. Hermes 10. Aphrodite 11. Demeter 12. Dionysus 13. -
Greco-Roman Gods and Goddesses
GRECO -ROMAN GODS AND GODDESSES THE OLYMPIANS : THE “T WELVE ” Of the many major and minor gods in the Olympian dynasty the most important are the Twelve, a group chosen by the Greeks themselves as the key figures in the Olympian group and the basis for most of their religious observances. Greek law is also to some extent derived from the concept of the Twelve, and Greeks in both court proceedings and in ordinary conversation took their oath “by the Twelve.” The divinities constituting this group were: Zeus (Jupiter, Jove) Leader of the Olympians, god of lightening, and representative of the power principle. Hera (Juno) Wife of Zeus and goddess of marriage and domestic stability. Poseidon (Neptune) God of the sea. Often called “the earth shaker,” possibly because the Greeks attributed earthquakes to marine origin. Hades (Pluto, Dis) God of the Underworld and presider over the realm of the dead. Also connected with the nature myth by his marriage to Persephone (Proserpine), who spent half of her time on earth (the growing season) and half in the underworld (the winter period). Hades does not represent death itself, that function being relegated to a lesser divinity Thanatos. Pallas Athena, Athena (Minerva) Goddess of wisdom, but also associated with many other concepts from warfare to arts and crafts. Her birth was remarkable, since she sprang fully-armed from the forehead of Zeus. She was the patron goddess of Athens and to the Athenians represented the art of civilized living. Phoebus Apollo Son of Zeus and Leto, daughter of the Titans Krios and Phoebe. -
Mythology, Greek, Roman Allusions
Advanced Placement Tool Box Mythological Allusions –Classical (Greek), Roman, Norse – a short reference • Achilles –the greatest warrior on the Greek side in the Trojan war whose mother tried to make immortal when as an infant she bathed him in magical river, but the heel by which she held him remained vulnerable. • Adonis –an extremely beautiful boy who was loved by Aphrodite, the goddess of love. By extension, an “Adonis” is any handsome young man. • Aeneas –a famous warrior, a leader in the Trojan War on the Trojan side; hero of the Aeneid by Virgil. Because he carried his elderly father out of the ruined city of Troy on his back, Aeneas represents filial devotion and duty. The doomed love of Aeneas and Dido has been a source for artistic creation since ancient times. • Aeolus –god of the winds, ruler of a floating island, who extends hospitality to Odysseus on his long trip home • Agamemnon –The king who led the Greeks against Troy. To gain favorable wind for the Greek sailing fleet to Troy, he sacrificed his daughter Iphigenia to the goddess Artemis, and so came under a curse. After he returned home victorious, he was murdered by his wife Clytemnestra, and her lover, Aegisthus. • Ajax –a Greek warrior in the Trojan War who is described as being of colossal stature, second only to Achilles in courage and strength. He was however slow witted and excessively proud. • Amazons –a nation of warrior women. The Amazons burned off their right breasts so that they could use a bow and arrow more efficiently in war. -
ORPHEUS and EURYDICE Being His Music and His Deep Yearning for Her
Educational Calliope Kyrdi material included and Eu eus ryd ph ice Or The world was born out of love, and it was out of love that it almost perished. Not just once. At the dawn of time, the love that gods and mortals felt for each other Illustrated by was so strong and powerful that it could defy the laws of Sandra nature. Such was the love Orpheus felt for his sweetheart Eleftheriou Euridice, who died an untimely death. So he ventured to the world of the dead to bring her back, his only weapons ORPHEUS AND EURYDICE being his music and his deep yearning for her. This series offers a new reading of the ancient Greek myths. They are not old, worn-out stories, but gripping tales of timeless human adventures, containing all the fears and joys that have marked and continue to mark the human soul. Calliope Kyrdi L O ISBN: 978-618-03-1455-7 V E S AUXIL. COMPU. CODE 81455 T ORIES 9748_orfeas k eyridiki_CV.indd 1 15/03/2018 15:25 nce upon a time, Calliope the OMuse, a minor deity who in- spired poets with beautiful words and ideas to write the greatest po- ems, fell in love with Oeagrus, the handsome and powerful King of Thrace. They had a love child, Orpheus, who grew up in the leafy forests and evergreen mountains of Thrace. Now Orpheus was a child blessed by the Fates with many gifts and talents. He lis- tened to the wind, the waves, the rustling leaves, the birdsong, and all the secret sounds of nature and turned ev- erything into enchanting melo- dies. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable). -
The Mystical Initiations Or Hymns of Orpheus
The Mystical Initiations or Hymns of Orpheus Translated from the original Greek by Thomas Taylor Wisdom of the Ages Series www.universaltheosophy.com Preface There is doubtless a revolution in the literary, correspondent to that of the natural world. The face of things is continually changing and the perfect, and perpetual harmony of the universe, subsists by the mutability of its parts. In conse!uence of this fluctuation, different arts and sciences have flourished at different periods of the world" but the complete circle of human knowledge has I believe, never subsisted at once, in any nation or age. #here accurate and profound researches, into the principles of things have advanced to perfection there, by a natural conse!uence, men have neglected the dis!uisition of particulars" and where sensible particulars have been the general object of pursuit, the science of universals has languished, or sunk into oblivion and contempt. Thus wisdom, the object of all true philosophy, considered as e%ploring the causes and principles of things, flourished in high perfection among the &gyptians first, and afterwards in Greece. Polite literature was the pursuit of the (omans and e%perimental en!uiries, increased without end, and accumulated without order, are the employment of modern philosophy. Hence we may $ustly conclude, that the age of true philosophy is no more. In conse!uence of very e%tended natural discoveries, trade and commerce have increased while abstract investigations, have necessarily declined" so that modern en!uiries, never rise above sense and every thing is despised, which does not in some respect or other, contribute to the accumulation of wealth the gratification of childish admiration or the refinements of corporeal delight. -
Orpheus' Hymn to the Muses V
Orpheus’ Hymn to the Muses Orpheus' Hymn to the Muses v. 11.11, www.philaletheians.co.uk, 23 November 2017 Page 1 of 11 HELLENIC AND HELLENISTIC PAPERS THE MUSES HARMONISE OUR TRIUNE ENERGIES Muses are the Nymphs of the Greek Poets. Eager to investigate the laws of nature and study philosophy, the Muses are intoxicated with the nectar of divine knowledge. To the Muses1 The Fumigation from Frankincense Daughters of Jove, loud-sounding, and divine, Renown’d, Pierian, sweetly speaking Nine; To those whose breasts your sacred furies fire, Much form’d, the objects of supreme desire. Sources of blameless virtue to mankind, Who form to excellence the youthful mind: Who nurse the soul, and give her to descry The paths of right with reason’s steady eye. Commanding queens, who lead to sacred light The intellect refin’d from error’s night; And to mankind each holy rite disclose, For mystic knowledge from your nature flows. Clio, and Erato who charms the sight, With thee, Euterpe, minist’ring delight: Thalia flourishing, Polymnia fam’d, Melpomene from skill in music nam’d: Terpsichore, Urania heav’nly bright, With thee who gav’st me to behold the light2 Come, venerable, various pow’rs divine, With fav’ring aspect on your mystics shine; Bring glorious, ardent, lovely, fam’d desire, And warm my bosom with your sacred fire. 1 Orpheus’ Mystical Hymn LXXVI. [Illustrations: Frontispiece: Flute Player, by Charles-Amable Lenoir. | Page 5: Apollo and the Muses, by Simon Vouet | Page 6: Sirens and Ulysses, by William Etty | Page 10: Polyhymnia, by Paul Vincenti] 2 [In the original text the Muse Kalliope is named here. -
Issues of Conservation: What to Do with a Muse
Issues of Conservation: European Art Around 1800 What to Do with a Muse One of the primary missions of the Cleveland Museum of Art is to preserve and protect the art in its collection. The museum has a number of trained professionals on staff who specialize in the ongoing care of the museum’s holdings. Before acquiring these monumental paintings by French artist Charles Meynier, museum conservators carefully examined them and developed a plan that would return them to as close to their original state upper and lower left: Apollo, God of Light, as possible. Surface grime was removed and old Eloquence, Poetry and Fine Arts with varnish layers were thinned. Deformations to the Urania, Muse of Astronomy, 1798 original canvas were also flattened, and the paintings upper and lower right: Clio, Muse of were mounted on new stretchers, or supports. The History, 1798 accompanying images provide views of before (the larger images to the right) and after (the smaller images) conservation. The cleaned paintings were retouched and the damaged areas were inpainted. The materials used for reconstruction, including the final protective varnish layer, are all reversible and can be removed in the future without harming the original paint surface. In addition, the original frames were restored. All images front and back: Charles Meynier (French, 1768–1832). Oil on canvas. Severance and Greta Millikin Purchase Fund 2003.6.1–5 European Art Around 1800 far and near left: Erato, Muse of Lyrical Poetry, 1802 below left and right: Polyhymnia, Muse of Eloquence, 1800 above and right: Calliope, Muse of Epic Poetry, 1800 .