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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. -
Aspects of the Demeter/Persephone Myth in Modern Fiction
Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed. -
Notes Du Mont Royal ←
Notes du mont Royal www.notesdumontroyal.com 쐰 Cette œuvre est hébergée sur « No- tes du mont Royal » dans le cadre d’un exposé gratuit sur la littérature. SOURCE DES IMAGES Google Livres ÏHISTORIÆ» ’*POETICÆ,H ’SCRIPTORES ANTIQJLW ’APOLLODORUS Atbmimfis. PTOLEMÆUS mm. 1v. 1c o N o N Grammaticm. PARTHMEN IUs mima; ANTON INUS immuns. Græcè 8c Latine. Jccgfi’è’re hem: Nm é Milice: mafia; la PARISIIIS. Typis F. u c u E T. Profiant apud R. S c o T "r, ü Bibliopolam Londinenfem. v MDCLxxm I - fluerez I L L u s (R0TIR 1’ D.JOSEPHO WILLIAMSON; 22141111 Lamina, SERENISSIMOMCAROLOIL - MAG. 31m: .FRANC. ET Hua. REGI - ’ A CONSILus InNTERIORIBuS, ETA SECRETIS STATus. , Xfiant’ in me , ".V I R "7CLARIS promerità 1m SIME) , magna diuturna. ,Sponte tuâ; nullo meo merito, defcendifli etiam- ad maclé benewolentiâ, qué Genti: a bnju: Epifiola Dcdicatoria: ’ buju: (9* (thorium ,literato: homi- ne: compleâîerù. Necfpem, nec cogitotionem guidon: foui, dignum aliquz’d tonifiât benefic’iis, unqmm reponencli ; aequo ’èm’mpotiebatur id ont fortune TUÆ magnitudo, ont ’mèæ agami; Non Âceflb interim juflâ debitâq; prodicatione ubiq; t’efl’ari toutim: Tibi dobere me, quantum firme? homo bomini poteflfiugi hâcÇnullâ’aliânzle wifi) gratit’udifii: mm fighificonclæ’curâ adduôîm,Nomini T110 ho: li- bella: infrrz’pfi. Molui Forum mo- j dellw boom, quÆm-mz’nù: group. Quanquam ’confllz’o huic meolz’lluçl jetiompotracinaritpoflîtguàd non in: l’pridem (quetzal al? lau’mqriz’tizofiu- diorum meOrüm’rationemTc ex- ,peétare * ’ Epiflola. Dedicatoria.’ wpeâare dicerer. Obtempero mi: 5 etiam ad exiflimotionù mon: periculnm. Ha: tomèn qua- liocnnque flint, non profil: , mi fiera, npnd TE wilefcent. -
Fuentes Grecolatinas Y
UNIVEESmAD COMPLUTENSE DE MADRID Facultad de Filología Upto. de Filología Latina EL MITO DE PROSÉRPIMA: FUENTES GRECOLATINAS Y PERVIVENCIA EN LA LITERATURA ESPANOLA. DIRECTOR: Dr. Vicente Cristóbal López REALIZADA POR: M. Dolores Castro Jiménez ANO: 1991. A mi madre a Manuel a Julio INTRODUCClON Cuando comenzamos las investigaciones sobre el mito de Prosérpina y sus, entonces posibles, recreaciones en la lite- ratura española, intentábamos acercarnos a una historia, una narración mítica cre, sin lugar a dudas y como hemos podido comprobar, habría sido utilizada como elemento narrativo, dramático o poético en nuestra literatura. La elección de este tema nos iba a permitir, centrándonos en las fuentes latinas, remontarnos a sus predecesores griegos y proyectarnos hacia la literatura española. Los elementos a analizar eran, por tanto, fundamentalmente las fuentes latinas, como más accesibles para nuestros autores y las obras que a nuestro mito hicieran referencia desde los origenes medievales de la literatura española hasta la actualidad. No olvidábamos en absoluto aquellos otros textos que, sin ser obra de autores latinos, podían constituirse en intermediarios entre las distintas narraciones clásicas” sobre nuestro mito y los textos españoles que 2 pretendíamos presentar. Bajo este planteamiento, era lógico que el prisma de análisis inicial, el método de acercamiento al tema en un primer momento, se centrara única y exclusivamente en los conceptos más clásicos y tradicionales de la literatura comparada tal y como los enumera René Wellek: “La letteratura comparata si é aggrappata alíe “relazioni reali’, fonti ed influenze, scrittori ““intermedian” e reputazioni” (1). Indudablemente, no es la función de nuesta investigación ir mucho más allá, pero el propio desarrollo de la misma nos ha llevado a introducir una serie de elementos que, por otro lado, no han sido extraños ni a la literatura comparada ni a los estudios de tradición clásica. -
Clas109.04 Rebirth Demeter & Hades
CLAS109.04 REBIRTH M Maurizio ch.4.1 HISTORY—Homeric Hymn to Demeter before class: skim HISTORY context; refer to leading questions; focus on ancient texts Active Reading FOCUS • H.Hom.2 & Plut.Mor. cf. CR04 H.Hom.Cer. G. Nagy trans. (Maurizio p.163‐174 is fine) use CR04 Plutarch Moralia: Isis & Osiris 15‐16 (Plut.Mor.357A‐D) NB read for one hour, taking notes (fill in worksheets) RAW notes & post discussion question @11h00 W Maurizio ch.4.3 COMPARE—In the Desert by the Early Grass before class: skim COMPARE context; refer to leading questions; focus on ancient text Active Reading FOCUS • Early Grass (edin‐na u2 saĝ‐ĝa2‐ke4) use CR04 Jacobsen 1987 translation (Maurizio p.188‐194 is NOT fine) NB read for one hour, taking notes; finish previous as necessary RAW notes & post discussion question @12h00 F Maurizio ch.4.2 THEORY—Foley 1994 before class: skim also modern 4.4 RECEPTION paragraph synopsis of Foley, H. 1994. “Question of Origins.” Womens Studies 23.3:193‐215 NB read for one hour, practice summarizing; finish previous as necessary tl; dr & post discussion responses @11h00 Q04 • QUOTE QUIZ Gen.6‐11, Aesch.Prom., H.Hom.Cer., Plut.Mor.357A‐D; Early Grass FINAL notes @23h59 DRAFT 01 @23h59 • following guidelines DEMETER & HADES How does myth represent the natural world (e.g. pre‐scientific explanation)? How does myth represent religious ritual? How does myth represent social order? Homeric Hymn to Demeter1 G. Nagy 1 I begin to sing of Demeter, the holy goddess with the beautiful hair. -
Lecture 12 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 12 Good morning and welcome to LLT121 Classical Mythology. When last we left off, we were talking about the journey of the goddess Demeter to find her daughter, Persephone. If I recall correctly, when we left off, Persephone had been carried away by Hades. Demeter searched for her daughter, Persephone, for ten days, carrying torches in her hands. At the end of the tenth day, the goddess, Hecate, influential underworld goddess, said "Demeter, your daughter has been carried away by Hades. She was screaming. She did not want to go. It was a very bad scene." Helios, influential sun god, was the second deity to report to Demeter. "Demeter, your daughter, Persephone, has been stolen, but don't worry. Hades stole her. Hades is a very important god. He's the underworld god. He's not exactly chopped liver." One would think that the average mother or father upon finding out where the missing daughter was would drop everything, go down to Hades—remember, Demeter is a goddess—grab him by his scrawny little collar and shake him within an inch of his life saying, "Give me my daughter back." It doesn't happen that way for two reasons. Reason number one is that we're talking about a patriarchal society, in which property is passed on from father to son. Cities are ruled by kings and so forth. A mother does not have the right to say who her daughter marries. That's reserved for the father. Reason number two why Demeter does not run down immediately is: the story doesn't work out that way. -
2019 Stanford CERTAMEN ADVANCED LEVEL ROUND 1 TU
2019 Stanford CERTAMEN ADVANCED LEVEL ROUND 1 TU 1. Translate this sentence into English: Servābuntne nōs Rōmānī, sī Persae īrātī vēnerint? WILL THE ROMANS SAVE US IF THE ANGRY PERSIANS COME? B1: What kind of conditional is illustrated in that sentence? FUTURE MORE VIVID B2: Now translate this sentence into English: Haec nōn loquerēris nisi tam stultus essēs. YOU WOULD NOT SAY THESE THINGS IF YOU WERE NOT SO STUPID TU 2. What versatile author may be the originator of satire, but is more famous for writing fabulae praetextae, fabulae palliatae, and the Annales? (QUINTUS) ENNIUS B1: What silver age author remarked that Ennius had three hearts on account of his trilingualism? AULUS GELLIUS B2: Give one example either a fabula praetexta or a fabula palliata of Ennius. AMBRACIA, CAUPUNCULA, PANCRATIASTES TU 3. What modern slang word, deriving from the Latin word for “four,” is defined by the Urban Dictionary as “crew, posse, gang; an informal group of individuals with a common identity and a sense of solidarity”? SQUAD B1: What modern slang word, deriving from a Latin word meaning “bend”, means “subtly or not-so-subtly showing off your accomplishments or possessions”? FLEX B2: What modern slang word, deriving from a Latin word meaning “end” and defined by the Urban Dictionary as “a word that modern teens and preteens say even though they have absolutely no idea what it really means,” roughly means “getting around issues or problems in a slick or easy way”? FINESSE TU 4. Who elevated his son Diadumenianus to the rank of Caesar when he became emperor in 217 A.D.? MACRINUS B1: Where did Macrinus arrange for the assisination of Caracalla? CARRHAE/EDESSA B2: What was the name of the person who actually did the stabbing of Caracalla? JULIUS MARTIALIS TU 5. -
Comparative Mythology and Folktale Studies: Kore, Demeter, Baldr, and the Fairy Tale “Sleeping Beauty” Riccardo Ginevra Harvard Center for Hellenic Studies
CHS Kosmos Society Online Open House (May 15, 2020) Comparative Mythology and Folktale Studies: Kore, Demeter, Baldr, and the fairy tale “Sleeping Beauty” Riccardo Ginevra Harvard Center for Hellenic Studies A1. Ancient Indo-European Myths of Non-Functioning Deities: Demeter and Baldr (Ginevra 2020) • The Greek myth of Demeter and Kore-Persephone (Homeric Hymn to Demeter): Demeter’s daughter Kore-Persephone kidnapped by Hades, Lord of the Dead. Demeter searches for her, can’t find her. Enraged, leaves the other gods, takes shape of old woman, eventually arriving at palace of kings of Eleusis, Celeus and Metaneira. Demophon episode (below). Cosmic winter threatens humanity. Ending: Kore half year with Demeter (spring), half Hades (winter). • The Norse Baldr myth (Gylfaginning 49): Baldr fears for his life, precautions are taken (below), they fail. Baldr killed by a mistletoe twig thrown by Hǫðr. Baldr’s death is the unluckiest deed that ever happened among gods and mortals. Baldr’s mother Frigg sends the god Hermóðr to bring Baldr back from Hel, the Realm of the Dead. All efforts to bring Baldr back from the dead fail. End of Time: Baldr will come back and corn-fields will grow without sowing. A2. The Homeric Hymn to Demeter , the Baldr Myth, and the Modern Folktale “Sleeping Beauty” (ATU 410) (Ginevra 2019) “Demophon episode” of the Homeric Hymn and beginning of Baldr myth: close parallels in beginning of folktale type ATU 410 “Sleeping Beauty. Hom. Hymn DEMETER: The prince Demophon (‘he who shines on the people’) is BALDR myth: Baldr (‘shining’) is the son of the kings of the gods, Odin and Frigg. -
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters. -
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. -
Quaestiones De Homerico Hymno in Cererem
Pfl 4167 .G8 Copy 1 QUAESTIONES DE HOMERICO HYMNO IN CEREREM DISSERTATIO INAUGURALIS PHILOLOGIICA QUAM CONCESSU ET AUCTOEITATE AMPLISSIMI PHILOSOPHOEUM ORDmiS m ACADEMIA FRIDERICIANA HALENSI CUM VITEBERaENSI CONSOCIATA AD SUMMOS IN PHILOSOPHIA HONORES RITE CAPESSENDOS DIE XYII MENSIS MAII A. MDOCCLXXII HORA XI IN AUDITORIO MAXIMO UNA CUM THESIBUS PUBLICE DEFENDET AUCTOE OTILELML8 OSCAll OUTSCHE SAXO -BORUSSr.- /^^ /,:> ADVERSARIORUM PARTES SUSCIPIENT M. Kleemnan, dr. ph. G. VlELUF, CAND. PH. HALIS SAXONUM FoRMis Hendelxis. ^ N^^» ^'^l'^ ^6-d43394 Homeri maiores qui vocantiir hymni iit eiusdem paene generis omnes (praeter h. VIII) sunt et ad Homeri exemplar conformati quadam propinquitate iunguntur, ita multum ab Orphicis hymnis absunt et a secretis iJlorum rationibus vehe- menter recedunt. Eorundem tamen tanta est diversitas, ut omnes docti viri consentiant, singulos hymnos sui quasi iuris esse neque eidem haec carmina poetae aut aetati posse adscribi. lam sermonis et verborum usus quantae sint differentiae do- ctis quaestionibus nuper Fietkavius, Windischius, Koehnius, alii explicare coeperunt, eorumque disputationibus effectum est, ut hymnorum inter se et ab Homeri carminibus discrepantem artem grammaticam, metricam, proprietatem dicendi melius perspiciamus. Illorum ad commentationes reiicimus, si qui singulas differentias cognoscere velint, generales autem, quae intercedunt, paucis exponere iuvat. Bina carmina (si hymnos in Apollinem unum ducimus) tam artem quam consilium diver- sum sequuntur. Mercurii prope abest a Veneris carmine pariter atque Apollinis a Cereris laudibus; ilii sunt lepidi, festivi, hi- lares et ad delicias describendas propensi, hi severe celebrant deum non sine tacita verecundia locosque priscis caerimoniis sacros, fata narrant, collata praesertim in proavos beneficia laudant. Hymnus autem in Cererem eo etiam ab Apollinis differt carmine, quod magis exornatus rebus salutariter inven- tis civitatem Eleusinis praedicat et aperte sacerdotum auctori- tate compositus Atticam originem certis indiciis prodit. -
The Local Divisions of Attica
f\1e.7)u-tl ~-tS )~ ,\A l'i~~ The Local DiYieions of Attiea Before the t~e of Solon, Attica was organized by trittyes and phratries. The phratries were groups of famil ies related by blood, ·e.nd were divided, in turn, into ~~v,., , smaller associations united in loyalty to a mythical ancestor. Although from the inscriptions~ioh record the decrees of various Y I. vn , we knOlJ that by the time of Cleisthenes their me.mbers were scattered over various dames, it is probable that in the earlier period the y c v~ were connected with a defi.nite locality.1 The trittyes may have been divisi.ons of the Athenian people on the basis of locality but the evidence does not . 2 make this clear. The Eupatridae, who were pro_bably, as WS.de-Gery suggested, the descendants of these men who. formed the first c ouncil. of the Athenian state at the time of the synoecism of the twelve Attic towns, controlled the government in the pre-Solonean period.3 - 4 They .elected the flvA o a.~- e-. ;~. s from their own number, and chose the 5 nine archons. We can see, therefore, that political power in the pre-Solonean period Tms in the hands of groups of families in specific districts. The evidence that we have on the Attic y~v~ who looked after the cults on the acropolis and at Eleusi.s throws some light on the important place that the y l v~ had in Attic religion at this time. The Eteobou tadae, for instance, cared for the cult of Poseidon Erechtheus on the acropolis.