Classical Mythology in John Keats’S ‘Hyperion Poems’ and Dan Simmons’S Hyperion and the Fall of Hyperion
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The Cambridge Companion to Greek Mythology (2007)
P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr. -
Titan and Enceladus $1 B Mission
JPL D-37401 B January 30, 2007 Titan and Enceladus $1B Mission Feasibility Study Report Prepared for NASA’s Planetary Science Division Prepared By: Kim Reh Contributing Authors: John Elliott Tom Spilker Ed Jorgensen John Spencer (Southwest Research Institute) Ralph Lorenz (The Johns Hopkins University, Applied Physics Laboratory) KSC GSFC ARC Approved By: _________________________________ Kim Reh Dr. Ralph Lorenz Jet Propulsion Laboratory The Johns Hopkins University, Applied Study Manager Physics Laboratory Titan Science Lead _________________________________ Dr. John Spencer Southwest Research Institute Enceladus Science Lead Pre-decisional — For Planning and Discussion Purposes Only Titan and Enceladus Feasibility Study Report Table of Contents JPL D-37401 B The following members of an Expert Advisory and Review Board contributed to ensuring the consistency and quality of the study results through a comprehensive review and advisory process and concur with the results herein. Name Title/Organization Concurrence Chief Engineer/JPL Planetary Flight Projects Gentry Lee Office Duncan MacPherson JPL Review Fellow Glen Fountain NH Project Manager/JHU-APL John Niehoff Sr. Research Engineer/SAIC Bob Pappalardo Planetary Scientist/JPL Torrence Johnson Chief Scientist/JPL i Pre-decisional — For Planning and Discussion Purposes Only Titan and Enceladus Feasibility Study Report Table of Contents JPL D-37401 B This page intentionally left blank ii Pre-decisional — For Planning and Discussion Purposes Only Titan and Enceladus Feasibility Study Report Table of Contents JPL D-37401 B Table of Contents 1. EXECUTIVE SUMMARY.................................................................................................. 1-1 1.1 Study Objectives and Guidelines............................................................................ 1-1 1.2 Relation to Cassini-Huygens, New Horizons and Juno.......................................... 1-1 1.3 Technical Approach............................................................................................... -
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. -
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. -
Enceladus: Present Internal Structure and Differentiation by Early and Long-Term Radiogenic Heating
Icarus 188 (2007) 345–355 www.elsevier.com/locate/icarus Enceladus: Present internal structure and differentiation by early and long-term radiogenic heating Gerald Schubert a,b,∗, John D. Anderson c,BryanJ.Travisd, Jennifer Palguta a a Department of Earth and Space Sciences, University of California, 595 Charles E. Young Drive East, Los Angeles, CA 90095-1567, USA b Institute of Geophysics and Planetary Physics, University of California, 603 Charles E. Young Drive East, Los Angeles, CA 90095-1567, USA c Global Aerospace Corporation, 711 West Woodbury Road, Suite H, Altadena, CA 91001-5327, USA d Earth & Environmental Sciences Division, EES-2/MS-F665, Los Alamos National Laboratory, Los Alamos, NM 87545, USA Received 30 May 2006; revised 27 November 2006 Available online 8 January 2007 Abstract Pre-Cassini images of Saturn’s small icy moon Enceladus provided the first indication that this satellite has undergone extensive resurfacing and tectonism. Data returned by the Cassini spacecraft have proven Enceladus to be one of the most geologically dynamic bodies in the Solar System. Given that the diameter of Enceladus is only about 500 km, this is a surprising discovery and has made Enceladus an object of much interest. Determining Enceladus’ interior structure is key to understanding its current activity. Here we use the mean density of Enceladus (as determined by the Cassini mission to Saturn), Cassini observations of endogenic activity on Enceladus, and numerical simulations of Enceladus’ thermal evolution to infer that this satellite is most likely a differentiated body with a large rock-metal core of radius about 150 to 170 km surrounded by a liquid water–ice shell. -
Defining Orphism: the Beliefs, the Teletae and the Writings
Defining Orphism: the Beliefs, the teletae and the Writings Anthi Chrysanthou Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Languages, Cultures and Societies Department of Classics May 2017 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. I This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Anthi Chrysanthou. The right of Anthi Chrysanthou to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. II Acknowledgements This research would not have been possible without the help and support of my supervisors, family and friends. Firstly, I would like to express my sincere gratitude to my supervisors Prof. Malcolm Heath and Dr. Emma Stafford for their constant support during my research, for motivating me and for their patience in reading my drafts numerous times. It is due to their insightful comments and constructive feedback that I have managed to evolve as a researcher and a person. Our meetings were always delightful and thought provoking. I could not have imagined having better mentors for my Ph.D studies. Special thanks goes to Prof. Malcolm Heath for his help and advice on the reconstruction of the Orphic Rhapsodies. I would also like to thank the University of Leeds for giving me the opportunity to undertake this research and all the departmental and library staff for their support and guidance. -
Aeschylus, with an English Translation by Herbert Weir Smyth
HANDBOUND AT THE THE LOEB CLASSICAL LIBRARY EDITED BY ^* ' 'T ' E. CAPPS, PH.D., LL.D. T. E. PAGE, mti-.d. W. H. D. ROUSE, Lirr.D. AESCHYLUS II AESCHYLUS WITH AN ENGLISH TRANSLATION BY HERBERT WEIR SMYTH, Ph.D. ELIOT PROFESSOR OF GREEK LITERATURE IN HARVARD UNIVERSITY IN TWO VOLUMES II AGAMEMNON LIBATION-BEARERS EUMENIDES FRAGMENTS LONDON: WILLIAM HEINEMANN NP:vv YORK: G. P. PUTNAM'S SONS MCMXXVI 2-2>.(I.S^ Printed in Great Britain. CONTENTS OF VOLUME II AGAMEMNON THE LIBATiON-BEARERS 155 EUMENIDES 269 FRAGMENTS 374 INDEX OF PROPER NAMES 522 (i ata slip, Aesch. — Vol. II. ADDITIONS AND CORRECTIONS TO VOL. I Additions to the List of Editions (p. xxxi ff.).—All the plays : 1853-54, Buckley. 1920-25, Mazon. Choe- phoroe : 1729, Oxford. 1774, Foulis press. 1776, Vollborth. Eumenides : 1901, Barnett. 1901, Plaistowe (w. prose translation). Persians ; 1847, Paley. Undated, Haydon. Prometheus : 1887, Plaistowe and Masom (w. prose trans- lation). 1900, Plaistowe and Mills (w. prose translation). Seven against Thehes : 1847, Paley. 1897 (1900), Plaistowe (w. prose translation). — Additions to the List of Translations. Agamemnon : 1823, Boyd (prose). 1839, Fox. 1846, Sewell. 1848, Anon. 1880, Anon, (prose). 1886, Students of the Univer- sity of Sydney (prose). 1888, Anon, (prose). 1890, Cooper (Oresteia). 1893, Campbell (Oresteia, prose). 1900(1911), Sixth Form Boys of Bradfield College. 1919, Davis. 1920, Ellis. 1920, Murray. 1920, Trevelyan (Oresteia). 1921, Robinson in " The Genius of the Greek Drama." Choephoroe, Eumenides : 1890, Cooper (Oresteia), 1893, Campbell (Oresteia, prose). 1920, Trevelyan (Oresteia). 1923-25, Murray. Persians : 1829, Palin. 1855, Wood (prose). 1873, Staunton. -
Why ARTEVASI? We Have the Best Benefit-Cost Ratio in the Market
CERAMIC COLLECTION 2021 HEMERA 20 NÉRIA 26 DÓRIS 32 CIBELE 38 HERA 46 IRIS 52 AURA 58 SELENE 64 HÉSTIA 70 VÉNUS 76 NÚBIA 84 VITÓRIA 94 THALIA 100 MACRAMÉ 108 2 3 Changing the way pots look and the way you look at pots. Mudar a essência do vaso e a forma como o vemos. Cambiamos la esencia de la maceta y la forma en como la vemos. Changer l'apparence des pots et la façon dont vous regardez les pots. Ändern der art und weise, wie töpfe aussehen, und der art und weise, wie sie die töpfe betrachten. 4 5 Desde o primeiro momento da Artevasi que tentamos ser diferentes e disruptivos na forma como abordamos o mercado e os clientes. Essa abordagem traduz-se no crescimento sustentado ao longo dos últimos anos e na conquista de diferentes target groups espalhados por todo o mundo. Fazemos, no nosso dia a dia, o melhor de forma a irmos ao encontro das expectativas dos clientes como o nível de serviço, um acompanhamento comercial diferenciador, e uma gama de produtos em constante evolução adaptada às novas necessidades e à consciência do consumidor, cada vez mais exigente. Espero que este novo catálogo vá ao encontro das suas necessidades e que possa superar as suas expectativas, tal como acontece hoje com mais de 1500 clientes e pontos de venda espalhados pelos mais de 50 países onde operamos. Votos de uma boa temporada. Da nossa parte, tudo faremos para aprender e crescer juntos. POTTERY IS IN OUR DNA Desde el comienzo de Artevasi, hemos tratado de ser diferentes y disruptivos en la forma en que From Artevasi’s beginning we tried to be different and disruptive in the nos acercamos al mercado y a los clientes. -
Polyphemus in Pastoral and Epic Poetry Grace Anthony Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Classical Studies Honors Theses Classical Studies Department 5-2017 The aC nnibal’s Cantations: Polyphemus in Pastoral and Epic Poetry Grace Anthony Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/class_honors Recommended Citation Anthony, Grace, "The aC nnibal’s Cantations: Polyphemus in Pastoral and Epic Poetry" (2017). Classical Studies Honors Theses. 6. http://digitalcommons.trinity.edu/class_honors/6 This Thesis open access is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. The Cannibal’s Cantations: Polyphemus in Pastoral and Epic Poetry Grace Anthony A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF CLASSICAL STUDIES AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS April 17, 2016 Dr. Corinne Pache, Thesis Advisor Dr. Larry Kim, Department Chair Dr. Tim O’ Sullivan, VPAA Student Agreement I grant Trinity University (“Institution”), my academic department (“Department”), and the Texas Digital Library (“TDL”) the non-exclusive rights to copy, display, perform, distribute and publish the content I submit to this repository (hereafter called “work”) and to make the Work available in any format in perpetuity as part of a TDL, Institution or Department repository communication or distribution effort. I understand that once the Work is submitted, a bibliographic citation to the Work can remain visible in perpetuity, even if the Work is updated or removed. -
Greek Monsters and Creatures
Name ___________________________________ Date ____________________________ ELA Period ________ Ms. Hidalgo Greek Monsters and Creatures Directions: You will use this paper to record your notes about the different aspects of your assigned monster or creature. This information will be used to write a paragraph introducing your creature from the 1st person point of view. Name of Monster/Creature: Special Powers/Strengths: Physical Description: Role in Greek Mythology: Rivals: Symbols Associated with your Monster/Creature: Relatives: Other Interesting Information: Name ___________________________________ Date ____________________________ ELA Period ________ Ms. Hidalgo Greek Monsters and Creatures Directions: You will be assigned one of the Greek mythological creatures or monsters to research. You will be responsible for creating a power point slide that teaches your classmates about your mythological creature/monster. You will eventually be writing a script and narrating your slide from your creature’s point of view (1st person). MYTHOLOGICAL CREATURES ONCE YOU GET YOUR CREATURE/MONSTER 1) Using the websites found on my Satyr Naiads webpage, you will use the space on the Chiron The Furies back of this sheet to record information you are researching. Charon The Sirens Remember, you need good information Centaur The 3 Fates so the class will learn about your creature/monster. (Required elements Pegasus Hesperides are found on the back of this sheet.) Dryads 2) Take your research and begin to write MYTHOLOGICAL MONSTERS your paragraph that you will include on your Power Point slide and also use as your Argus Medusa Typhon script. Chimera Gorgons Scylla Hydra Cyclops Procrustes 3) Search for the picture/pictures (no more than 2) that you will use. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 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 permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield.