Seagate Crystal Reports
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
De Novis Libris Iudicia ∵
mnemosyne 70 (2017) 347-358 brill.com/mnem De Novis Libris Iudicia ∵ Carrara, L. L’indovino Poliido. Roma, Edizioni di Storia e Letteratura, 2014. xxiv, 497 pp. Pr. €48.00. ISBN 9788863726688. In this book Laura Carrara (C.) offers an edition with introduction and com- mentary (including two appendices, an extensive bibliography and indexes) of three fragmentary plays by Aeschylus, Sophocles and Euripides, which focus on the story of a mythical descendant of Melampus, the prophet and sorcerer Polyidus of Corinth, and his dealings with the son of Minos, Glaucus, whose life he saved. These plays are the Cressae, Manteis and Polyidus respectively. In the introduction C. gives an extensive survey of the sources on Polyidus in earlier periods and in literary genres other than tragedy. He plays a sec- ondary part in several stories (as in Pi. O. 13.74-84, where he is helping Bellerophon to control Pegasus) and only in the Cretan story about Glaucus he is the main character. C. observes that in archaic literature we find no traces of this story, but even so regards it as likely that the tragic poets did not invent it (perhaps finding it in an archaic Melampodia). Starting from Il. 13.636-672, where Polyidus predicts the death of his son Euchenor, C. first discusses the various archaic sources in detail and then goes on to various later kinds of prose and poetry, offering a full diachronic picture of the evidence on Polyidus. In the next chapter C. discusses a 5th century kylix, which is the only evidence in visual art of the Cretan story and more or less contemporary with the tragic plays. -
The Zodiac: Comparison of the Ancient Greek Mythology and the Popular Romanian Beliefs
THE ZODIAC: COMPARISON OF THE ANCIENT GREEK MYTHOLOGY AND THE POPULAR ROMANIAN BELIEFS DOINA IONESCU *, FLORA ROVITHIS ** , ELENI ROVITHIS-LIVANIOU *** Abstract : This paper intends to draw a comparison between the ancient Greek Mythology and the Romanian folk beliefs for the Zodiac. So, after giving general information for the Zodiac, each one of the 12 zodiac signs is described. Besides, information is given for a few astronomical subjects of special interest, together with Romanian people believe and the description of Greek myths concerning them. Thus, after a thorough examination it is realized that: a) The Greek mythology offers an explanation for the consecration of each Zodiac sign, and even if this seems hyperbolic in almost most of the cases it was a solution for things not easily understood at that time; b) All these passed to the Romanians and influenced them a lot firstly by the ancient Greeks who had built colonies in the present Romania coasts as well as via commerce, and later via the Romans, and c) The Romanian beliefs for the Zodiac is also connected to their deep Orthodox religious character, with some references also to their history. Finally, a general discussion is made and some agricultural and navigator suggestions connected to Pleiades and Hyades are referred, too. Keywords : Zodiac, Greek, mythology, tradition, religion. PROLOGUE One of their first thoughts, or questions asked, by the primitive people had possibly to do with sky and stars because, when during the night it was very dark, all these lights above had certainly arose their interest. So, many ancient civilizations observed the stars as well as their movements in the sky. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
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. -
Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides. -
A Preliminary List of Shallow Water Decapod Crustacea in the Kerama Group, the Ryukyu Archipelago
Bull Biogeogr. Soc. Japan 日本生物地理学会会報 51(2): 7-21. Dec. 20,1996 第 5 1巻第 2号1 996 年1 2 月 20 日 A preliminary list of shallow water decapod Crustacea in the Kerama Group, the Ryukyu Archipelago Keiichi Nomura, Seiji Nagai, Akira Asakura and Tomoyuki Komai Abstract. During a faunal survey of the Kerama いroup in 1978 and 1992-1994,S. Nagai and K. Nomura made intensive collections of decapod crustaceans. The material includes 299 species representing 37 families,excluding the Chirostylidae and Galatheidae. Of these, 47 species remain to be unidentified, because they include possibly undescribed or taxonomically proolematical species. First Japanese records are reported for the following 21 species, most of wmch are considered to be widely distributed in tropical and subtropical waters of the West Pacific or Indo-West Pacific: Odontozona ensifera, Discias exul, Leptochela irrobusta, Hamodactylus boshmai’ Periclimenaeus djiboutensis, P. hecate, Periclimenes amboinensis, P. cristimanus, P. novaecaledoniae, P. longirostris, Alpheus ehlersii, A. pareuchirus, A, tenuipes, Parabetaeus culliereti, Axiopsis serratifrons, Pylopaguropsis fimbriata, Petrolisthes extremus, Hyastenus uncifer, Tiarinia dana, Portunus mariei and Hypocolpus rugosus. Key words: Crustacea, Decapoda, Fauna, Kerama, Ryukyu Introduction seven species of porcellanid crab in intertidal zone of The Kerama Group, which belongs to the Okinawa Zamami-jima. Recently, Okuno (1994) recorded Islands, the Ryukyu Archipelago, is located 30 km three species of rhynchocinetid shrimps, including a west of Okinawa-jima,and consists of about 20 new species, Rhynchocinetes concolor, from Aka- islands of various sizes. Despite the considerable jima. development of coral reef and related environment, its During a faunal survey of the Kerama Group in marine fauna has been little studied in the past. -
CELESTIAL CHURCH of the COSMOS 1 the Purpose of This Chart Is to Approximate the Celestial Correlation Between the 7 Churches of Asia and the Pleiades in Taurus
CELESTIAL CHURCH OF THE COSMOS 1 The purpose of this chart is to approximate the celestial correlation between the 7 Churches of Asia and the Pleiades in Taurus. The Zodiac or Mazzaroth will be plotted onto the Earth geographically to suggest that the Taurus-Orion constellations in the Heavenlies amazingly reflect the topographical configuration of Greece as Orion and Turkey as Taurus and its locality on Earth. The precise ancient locations to the 7 Churches of Asia correlate as the Hyades of Taurus. Amazingly, the Taurus Mountains thus correspond in relative distance as are the Pleiades in modern day Turkey to the Hyades of Taurus. The constellation Taurus with Pleiades mirrors its opposite geographic position with Pleiades as the 7 Churches adjacent the Taurus Mountains of Turkey. They are distanced apart in a similar pattern from the Taurus Mountains opposite their positions as are the Pleiades from the Head of Taurus. The 7 Churches of Asia from the book of Revelation are geographically in a 'V” shape like the horns of a Bull. This region is called the Hyades and is considered also a pyramid with the Church of Pergamum as the ‘capstone’. This was the ancient ‘Seat or Throne of Satan’. The Witness of the Stars The 12 constellations in the Heavens can be mapped out on Earth as they mirror their positions with key geographic latitudes and longitudes. Symbols and numbers play a significant role in all things spirituality as YHVH is the author of mathematics and design. Each Zodiac symbol has a meaning ascribed to the redemptive work of Christ. -
Sophocles' Electra
Sophocles’ Electra Dramatic action and important elements in the play, scene-by-scene Setting: Mycenae/Argos Background: 15-20 years ago, Agamemnon (here named as grandson of Pelops) was killed by his wife and lover Aegisthus (also grandson of Pelops). As a boy, Orestes, was evacuated by his sister Electra and the ‘Old Slave’ to Phocis, to the kingdom of Strophius (Agamemnon’s guest-friend and father of Pylades). Electra stayed in Mycenae, preserving her father’s memory and harbouring extreme hatred for her mother Clytemnestra and her lover Aegisthus. She has a sister, Chrysothemis, who says that she accepts the situation. Prologue: 1- 85 (pp. 169-75) - Dawn at the palace of Atreus. Orestes, Pylades and the Old Slave arrive. Topography of wealthy Argos/Mycenae, and the bloody house of the Atreids. - The story of Orestes’ evacuation. ‘It is time to act!’ v. 22 - Apollo’s oracle at Delphi: Agamemnon was killed by deception; use deception (doloisi – cunning at p. 171 is a bit weak) to kill the murderers. - Orestes’ idea to send the Old Slave to the palace. Orestes and Pylades will arrive later with the urn containing the ‘ashes’ of Orestes. «Yes, often in the past I have known clever men dead in fiction but not dead; and then when they return home the honour they receive is all the greater» v. 62-4, p. 173 Orestes like Odysseus: return to house and riches - Electra is heard wailing. Old slave: “No time to lose”. Prologue: 86-120 (pp. 175-7) - Enter Electra, who addresses the light of day. -
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. -
Where Is Electra in Sophocles' Electra?
WHERE IS ELECTRA IN SOPHOCLES’ ELECTRA? Francis Dunn My general theme is the semiotics of space. By this I refer to the pro- cess by which dramatic space acquires meaning—the skene, for example, becoming a sign denoting the House of Atreus, or an offstage area beyond view coming to represent Mount Cithaeron. Each drama generates its own set of significant spaces which may have connotations enriched by the internal action of the play or by the external knowledge of the audi- ence, and these spaces may in turn contribute to the meaning of a char- acter or the response of an audience.1 As a brief illustration, consider the prologue of Aeschylus’ Eumenides, spoken by the priestess at Delphi. Only gradually does she identify the skene, beginning instead by invoking Gaia and her daughter Themis, whose prophetic powers were eventually passed down to Apollo; thus she endows Apollo’s Temple with a power and authority almost as old as the world itself (–), while also indicat- ing her own identity and stature. The shocking reentry of the priestess a few lines later, crawling on all fours from within the temple (–), con- sequently undermines the authority of the temple and generates a new, horrifying space within. Dramatic space may be dense and complex, and I could not begin to unpack this opening scene without considering the ritual space implied by the oracle, and the geographical space suggested by those Athenians who escorted Apollo on his way from Delos to Delphi (–). My aim in this essay, however, is more limited, exploring one charac- ter’s relation to dramatic space, and my thesis is that Sophocles’ Electra handles this unusually: the protagonist, I shall argue, fails to occupy a significant place—partly because she is excluded from those that seem to acquire importance, and partly because the places she does occupy are emptied of meaning (they fall short as signs). -
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 -
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.