At the Feet of the Moirai
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Chapter 4. Hatred in Hesiod
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Kilgallon, Silvie Title: Hatred in Hesiod General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hatred in Hesiod Silvie Kilgallon A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts, January 2019. Word Count: 75,322. 2 Abstract: This thesis examines the conception and role of hatred in the Theogony and Works and Days of Hesiod. -
Universal Mythology: Stories
Universal Mythology: Stories That Circle The World Lydia L. This installation is about mythology and the commonalities that occur between cultures across the world. According to folklorist Alan Dundes, myths are sacred narratives that explain the evolution of the world and humanity. He defines the sacred narratives as “a story that serves to define the fundamental worldview of a culture by explaining aspects of the natural world, and delineating the psychological and social practices and ideals of a society.” Stories explain how and why the world works and I want to understand the connections in these distant mythologies by exploring their existence and theories that surround them. This painting illustrates the connection between separate cultures through their polytheistic mythologies. It features twelve deities, each from a different mythology/religion. By including these gods, I have allowed for a diversified group of cultures while highlighting characters whose traits consistently appear in many mythologies. It has the Celtic supreme god, Dagda; the Norse trickster god, Loki; the Japanese moon god, Tsukuyomi; the Aztec sun god, Huitzilopochtli; the Incan nature goddess, Pachamama; the Egyptian water goddess, Tefnut; the Polynesian fire goddess, Mahuika; the Inuit hunting goddess, Arnakuagsak; the Greek fate goddesses, the Moirai: Clotho, Lachesis, and Atropos; the Yoruba love goddess, Oshun; the Chinese war god, Chiyou; and the Hindu death god, Yama. The painting was made with acrylic paint on mirror. Connection is an important element in my art, and I incorporate this by using the mirror to bring the audience into the piece, allowing them to see their reflection within the parting of the clouds, whilst viewing the piece. -
Clotho: Transparent Data Versioning at the Block I/O Level
Clotho: Transparent Data Versioning at the Block I/O Level Michail D. Flouris Angelos Bilas1 Department of Computer Science, Institute of Computer Science University of Toronto, Foundation for Research and Technology - Hellas 10 King’s College Road, Vassilika Vouton, P.O.Box 1385, Toronto, Ontario M5S 3G4, Canada GR 711 10 Heraklion, Greece Tel: +1-416-978-6610, Fax: +1-416-978-1931 Tel: +30-281-039-1600, Fax: +30-281-039-1601 e-mail: fl[email protected] e-mail: [email protected] Abstract cessing, and network transfer capacity in a cost-efficient manner and they will be able to process and store ever in- Recently storage management has emerged as one of the main creasing amounts of data. The cost of managing these large problems in building cost effective storage infrastructures. One amounts of stored data becomes the dominant complex- of the issues that contribute to management complexity of stor- ity and cost factor for building, using, and operating mod- age systems is maintaining previous versions of data. Up till now ern storage systems. Recent studies [10] show that stor- such functionality has been implemented by high-level applica- age expenditures represent more than 50% of the typical tions or at the filesystem level. However, many modern systems server purchase price for applications such as OLTP (On- aim at higher scalability and do not employ such management entities as filesystems. Line Transaction Processing) or ERP (Enterprise Resource Planning) and these percentages will keep growing. Fur- In this paper we propose pushing the versioning functionality thermore, the cost of storage administration is estimated at closer to the disk by taking advantage of modern, block-level several times the purchase price of the storage hardware storage devices. -
Names of Botanical Genera Inspired by Mythology
Names of botanical genera inspired by mythology Iliana Ilieva * University of Forestry, Sofia, Bulgaria. GSC Biological and Pharmaceutical Sciences, 2021, 14(03), 008–018 Publication history: Received on 16 January 2021; revised on 15 February 2021; accepted on 17 February 2021 Article DOI: https://doi.org/10.30574/gscbps.2021.14.3.0050 Abstract The present article is a part of the project "Linguistic structure of binomial botanical denominations". It explores the denominations of botanical genera that originate from the names of different mythological characters – deities, heroes as well as some gods’ attributes. The examined names are picked based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012. The names of the plants are arranged in alphabetical order. Beside each Latin name is indicated its English common name and the family that the particular genus belongs to. The article examines the etymology of each name, adding a short account of the myth based on which the name itself is created. An index of ancient authors at the end of the article includes the writers whose works have been used to clarify the etymology of botanical genera names. Keywords: Botanical genera names; Etymology; Mythology 1. Introduction The present research is a part of the larger project "Linguistic structure of binomial botanical denominations", based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012 [1]. The article deals with the botanical genera appellations that originate from the names of different mythological figures – deities, heroes as well as some gods’ attributes. According to ICBN (International Code of Botanical Nomenclature), "The name of a genus is a noun in the nominative singular, or a word treated as such, and is written with an initial capital letter (see Art. -
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. -
THE ELEUSINIAN MYSTERIES of DEMETER and PERSEPHONE: Fertility, Sexuality, Ancl Rebirth Mara Lynn Keller
THE ELEUSINIAN MYSTERIES OF DEMETER AND PERSEPHONE: Fertility, Sexuality, ancl Rebirth Mara Lynn Keller The story of Demeter and Persephone, mother and daugher naturc goddesses, provides us with insights into the core beliefs by which earl) agrarian peoples of the Mediterranean related to “the creative forces of thc universe”-which some people call God, or Goddess.’ The rites of Demetei and Persephone speak to the experiences of life that remain through all time< the most mysterious-birth, sexuality, death-and also to the greatest niys tery of all, enduring love. In these ceremonies, women and inen expressec joy in the beauty and abundance of nature, especially the bountiful harvest in personal love, sexuality and procreation; and in the rebirth of the humail spirit, even through suffering and death. Cicero wrote of these rites: “Wc have been given a reason not only to live in joy, but also to die with bettei hope. ”2 The Mother Earth religion ceIebrated her children’s birth, enjoyment of life and loving return to her in death. The Earth both nourished the living and welcomed back into her body the dead. As Aeschylus wrote in TIic Libation Bearers: Yea, summon Earth, who brings all things to life and rears, and takes again into her womb.3 I wish to express my gratitude for the love and wisdom of my mother, hlary 1’. Keller, and of Dr. Muriel Chapman. They have been invaluable soiirces of insight and under- standing for me in these studies. So also have been the scholarship, vision atdot- friendship of Carol €! Christ, Charlene Spretnak, Deem Metzger, Carol Lee Saiichez, Ruby Rohrlich, Starhawk, Jane Ellen Harrison, Kiane Eisler, Alexis Masters, Richard Trapp, John Glanville, Judith Plaskow, Jim Syfers, Jim Moses, Bonnie blacCregor and Lil Moed. -
Lecture 9 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 9 Good morning and welcome to LLT121 Classical Mythology. In our last exciting class, we were discussing the various sea gods. You’ll recall that, in the beginning, Gaia produced, all by herself, Uranus, the sky, Pontus, the sea and various mountains and whatnot. Pontus is the Greek word for “ocean.” Oceanus is another one. Oceanus is one of the Titans. Guess what his name means in ancient Greek? You got it. It means “ocean.” What we have here is animism, pure and simple. By and by, as Greek civilization develops, they come to think of the sea as ruled by this bearded god, lusty, zesty kind of god. Holds a trident. He’s seriously malformed. He has an arm growing out of his neck this morning. You get the picture. This is none other than the god Poseidon, otherwise known to the Romans as Neptune. One of the things that I’m going to be mentioning as we meet the individual Olympian gods, aside from their Roman names—Molly, do you have a problem with my drawing? Oh, that was the problem. Okay, aside from their Roman names is also their quote/unquote attributes. Here’s what I mean by attributes: recognizable features of a particular god or goddess. When you’re looking at, let’s say, ancient Greek pottery, all gods and goddesses look pretty much alike. All the gods have beards and dark hair. All the goddesses have long, flowing hair and are wearing dresses. The easiest way to tell them apart is by their attributes. -
Atropos: a Disk Array Volume Manager for Orchestrated Use of Disks
Appears in Proceedings of the 3rd USENIX Conference on File and Storage Technologies (FAST’04). San Francisco, CA. March 2004. Atropos: A Disk Array Volume Manager for Orchestrated Use of Disks Jiri Schindler,£ Steven W. Schlosser, Minglong Shao, Anastassia Ailamaki, Gregory R. Ganger Carnegie Mellon University Abstract explicit hints APPLICATION to applications The Atropos logical volume manager allows applications host to exploit characteristics of its underlying collection of I/O 2 disks. It stripes data in track-sized units and explicitly requests LVM exposes the boundaries, allowing applications to maxi- parameters layout w/ efficient mize efficiency for sequential access patterns even when data access Atropos LVM they share the array. Further, it supports efficient diag- 1 onal access to blocks on adjacent tracks, allowing ap- disk drive plications to orchestrate the layout and access to two- parameters dimensional data structures, such as relational database disk array tables, to maximize performance for both row-based and Figure 1: Atropos logical volume manager architecture. Atropos column-based accesses. exploits disk characteristics (arrow 1), automatically extracted from disk drives, to construct a new data organization. It exposes high-level 1 Introduction parameters that allow applications to directly take advantage of this data organization for efficient access to one- or two-dimensional data Many storage-intensive applications, most notably structures (arrow 2). database systems and scientific computations, have some control over their access patterns. Wanting the it accomplishes two significant ends. First, Atropos ex- best performance possible, they choose the data layout ploits automatically-extracted knowledge of disk track and access patterns they believe will maximize I/O effi- boundaries, using them as its stripe unit boundaries. -
Greek Gods and Myths – Overview Gaia and Uranus to Reign of the Olympians
GREEK GODS AND MYTHS – OVERVIEW GAIA AND URANUS TO REIGN OF THE OLYMPIANS ERA SUMMARY – GREEK GODS AND MYTHS The myths and legends of Ancient Greece are such an essential part of Greek culture that the first three units of the Ancient Greece Classical Curriculum are dedicated entirely to myth and folklore. Greek mythology is important, not only because it reflects the pagan religion of the Ancient world, but also because it gives great insight into Greek thought and expression. References to Greek Gods and folklore are present throughout the recorded history of the ancient world, in religious symbols and ceremonies, in literature, in poetry, in art, in archeological artifacts, and in day to day life. The Greeks worshiped Pagan gods but did not credit them with the same qualities of omniscience and goodness that Christians associate with their God. Greeks Gods shared many human foibles so the legends that arose concerning them were almost invariably dramas involving jealousy, indulgence, revenge, debauchery, and misunderstandings. Greek myths were often quite humorous and frequently involved morals applicable to human relations. The myths, heroes and legends of Ancient Greece are too numerous to list, but a few general categories of the types of heroes and stories can be given. The first category of Greek myths involves the Gods, or immortals, who have a human form, and decidedly human personality traits, but possess enormous powers over the earth. The twelve Olympians are the most ATHENE CHANGES ARACHNE INTO A SPIDER important, and they include Zeus, Poseidon, and Hades who rule over the heaven, Sea, and Underworld respectively. -
Three Fates Free Ebook
FREETHREE FATES EBOOK Nora Roberts | 496 pages | 01 Apr 2003 | Penguin Putnam Inc | 9780515135060 | English | New York, United States The Three Fates: Destiny’s Deities of Ancient Greece and Rome Known as Moirai or Moerae in Greek Mythology and Fata or Parcae by the Romans, the Fates were comprised of three women often described as elderly, stern, severe, cold and unmerciful. Their names in Greek were Clotho, (“the spinner”), Lachesis (“the apportioner”) and Atropos (“the inevitable”). However, according to the 3rd century BC grammarian Epigenes, the three Moirai, or Fates, were regarded by the Orphic tradition as representing the three divisions of the Moon, "the thirtieth and the fifteenth and the first" (i.e. the crescent moon, full moon, and dark moon, as delinted by the divisions of the calendar month). The Fates – or Moirai – are a group of three weaving goddesses who assign individual destinies to mortals at birth. Their names are Clotho (the Spinner), Lachesis (the Alloter) and Atropos (the Inflexible). In the older myths, they were the daughters of Nyx, but later, they are more often portrayed as the offspring of Zeus and Themis. Triple Goddess (Neopaganism) Known as Moirai or Moerae in Greek Mythology and Fata or Parcae by the Romans, the Fates were comprised of three women often described as elderly, stern, severe, cold and unmerciful. Their names in Greek were Clotho, (“the spinner”), Lachesis (“the apportioner”) and Atropos (“the inevitable”). In mythology, Clotho, Lachesis, and Atropus (the Three Fates) are goddesses of fate and destiny. Clotho spins, Lachesis measures, and Atropus cuts the thread of time and life. -
Lachesis: Robust Database Storage Management Based on Device-Specific Performance Characteristics
Lachesis: Robust Database Storage Management Based on Device-specific Performance Characteristics Jiri Schindler Anastassia Ailamaki Gregory R. Ganger March 2003 CMU-CS-03-124 School of Computer Science Carnegie Mellon University Pittsburgh, PA 15213 Abstract Database systems work hard to tune I/O performance, but they do not always achieve the full performance potential of modern disk drives. Their abstracted view of storage components hides useful device-specific characteristics, such as disk track boundaries and advanced built-in firmware algorithms. This paper presents a new storage manager architecture, called Lachesis, that exploits a few observable device-specific characteristics to achieve more robust performance. Most notably, it enables efficiency nearly equivalent to sequential streaming even in the presence of competing I/O traffic. With automatic adaptation to device characteristics, Lachesis simplifies manual configuration and restores optimizer assumptions about the rel- ative costs of different access patterns expressed in query plans. Based on experiments with both IBM DB2 and an implementation inside the Shore storage manager, Lachesis improves performance of TPC-H queries on average by 10% when running on dedicated hardware. More importantly, it speeds up TPC-H by up to 3 when running concurrently with an OLTP workload, which is simultaneously improved by 7%. We thank Mengzhi Wang and Jose-Jaime Morales for providing and helping with TPC-C and TPC-H toolkits for Shore and Gary Valentin from IBM Toronto for helping us understand the intricacies of DB2 configuration and for explaining to us the workings of the DB2 storage manager. We thank the members and companies of the PDL Consortium (including EMC, Hewlett-Packard, Hitachi, IBM, Intel, Microsoft, Network Appliance, Oracle, Panasas, Seagate, Sun, and Veritas) for their interest, insights, feedback, and support. -
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.