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Excerpt from Euripides' Herakles
Excerpt from Euripides’ Herakles (lines 1189-1426) The action up until now: The goddess Hera has sent Madness upon Herakles. Madness has driven Herakles to kill his wife and his children. He mistook them for his enemies, being under the influence of Madness. Herakles is just coming out of the frenzied state he was in, and beginning to realise what he has done. He is contemplating suicide. Suddenly, Theseus of Athens appears on the scene. After a discussion with Herakles’ father Amphitryon, Theseus learns what has happened. At this moment, Herakles is lying in among his dead family members, ashamed of his actions, not wanting Theseus to see his face. I have included some lines here of the discussion between Theseus and Amphitryon, that will lead into the essential discussion between Herakles and Theseus. Theseus What do you mean? What has he done? Amphitryon Slain them in a wild fit of frenzy with arrows dipped in the venom of the hundred-headed hydra. Theseus This is Hera's work; but who lies there among the dead, old man? Amphitryon My son, my own enduring son, that marched with gods to Phlegra's plain, there to battle with giants and slay them, warrior that he was. Theseus Ah, ah! whose fortune was ever so cursed as his? Amphitryon Never will you find another mortal that has suffered more or been driven harder. Theseus Why does he veil his head, poor wretch, in his robe? Amphitryon He is ashamed to meet your eye; his kinsman's kind intent and his children's blood make him abashed. -
Composer and Lyricist
BIBLIOGRAPHY Songs Referenced Καλόγρια—“The Nun” Composer and Lyricist: Vaggelis Papazoglou First recorded singer: Rita Abatzi Year: 1937 Λιλή η σκανδαλιάρα— “Lily the Reckless” Composer and Lyricist: Panagiotis Tountas First recorded singer: Roza Eskenazi Year: 1931 Γκιούλµπαχαρ— “Gioulbahar” Composer and Lyricist: Vassilis Tsitsanis Year: 1950 Οι µάγκες δεν υπάρχουν πια— “The real manges don’t exist anymore” Composer and lyricist: Nikos Papazoglou Year: 1979 Μποέµισσα- “Boemissa” Composer and lyricist: Spyros Peristeris Year: 1933 Μποέµισσα— “Boemissa” Composer and Lyricist: Vassilis Tsitsanis Year: 1938 Αν είµ’εγώ µποέµισσα— “If I’m a boemissa” Composer and lyricist: Sotiria Bellou Year: ~late 1950’s Que Deus Me Perdoe Composer: Frederico Valério Lyricist: João da Silva Tavares Year: 1967 Tudo Isto é Fado Composer: Aníbal Nazaré Lyricist: Fernando de Carvalho Year: 1957 Foi Deus Composer/Lyricist: Alberto Janes Year: unknown; based on Janes’ life, likely in the 1950’s Fado da Desgraçada Published in 1893, but written sometime in the 1850’s (Nery, 85). Estranha Forma de Vida Composer: Alfredo Marceneiro Lyricist: Amália Rodrigues Year: 1967 Works Referenced Adimidou, Sofia (Αδαμίδου, Σοφία). 1998. Σωτηρία Μπέλλου, Πότε ντόρτια, πότε εξάρες. Αθήνα: Νέα Σύνορα / Α. Α. Λιβάνη. Bakhtin Michail Michajlovič., and Iswolsky Hélène. 1984. Rabelais and His World. Indiana University Press. Butler, Judith. 1990. “Gender Trouble.” In Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch, 2485-2501. Norton & Company Limited, W.W., 2018. Cook, Manuela. 2003. “The Woman in Portuguese Fado-Singing.” International Journal of Iberian Studies, vol. 16, no. 1, Intellect, , pp. 19–32, doi:10.1386/ijis.16.1.19/0. Colvin, Michael. -
Music, Image, and Identity: Rebetiko and Greek National Identity
Universiteit van Amsterdam Graduate School for Humanities Music, Image, and Identity: Rebetiko and Greek National Identity Alexia Kallergi Panopoulou Student number: 11655631 MA Thesis in European Studies, Identity and Integration track Name of supervisor: Dr. Krisztina Lajosi-Moore Name of second reader: Prof. dr. Joep Leerssen September 2018 2 Table of Contents Introduction ......................................................................................................................... 4 Chapter 1 .............................................................................................................................. 6 1.1 Theory and Methodology ........................................................................................................ 6 Chapter 2. ........................................................................................................................... 11 2.1 The history of Rebetiko ......................................................................................................... 11 2.1.1 Kleftiko songs: Klephts and Armatoloi ............................................................................... 11 2.1.2 The Period of the Klephts Song .......................................................................................... 15 2.2 Rebetiko Songs...................................................................................................................... 18 2.3 Rebetiko periods .................................................................................................................. -
AHEPA's James Plevritis Evzone Chapter #405
AHEPA’s James Plevritis Evzone Chapter #405 Invites you to a Unique Cultural "Greek Movie Night" Presenting the Award Winner Movie "REBETIKO" Produced: 1983 Drama and Historic Fiction 2.5 hours The story is based on the life of the Rebetiko singer Marika Ninou and her relation with the famous composer Vassilis Tsitsanis. It presents the Rebetiko song as it entangles with the political instability of the entire Greek nation starting from the Asia Minor Disaster in 1922, the World War II and Nazi occupation in 1940, the tragic Civil War in 1948, to the even more economic instability of the 1950's. Mucic by the famous composer Stavros Xarhakos Saturday, March 21st, 2015 7:00 PM Holy Trinity Church – 10 Mill Road, New Rochelle, NY 10804 Reception with Hors d’oeuvres and wine will follow the movie Donation $15 Payable to: AHEPA Evzone Chapter #405 (501c10) Donations deductible to the extent permitted by law Portion of profits support the AHEPA Scholarship Fund Information: Peter Constantinides 718 543-8136, Joe Keane 914 738-4854 Elias Pantelaros 914 633-0678 "Rebetiko" Synopsis The time depicted in this film, covers a period in Athens from about 1922 -1958. This was a time of tremendous transition and instability for the entire Greek nation. The film begins with a montage of the Asia Minor Disaster which resulted in a population exchange, that increased the population in Greece by approximately 25%, almost overnight, in 1923 with most of them ending up in Athens. It was in these overcrowded and economically and spiritually destitute conditions during the 1930's, that the Rembetiko genre of music reached its height in popularity. -
Greek Mythology
Greek Mythology The Creation Myth “First Chaos came into being, next wide bosomed Gaea(Earth), Tartarus and Eros (Love). From Chaos came forth Erebus and black Night. Of Night were born Aether and Day (whom she brought forth after intercourse with Erebus), and Doom, Fate, Death, sleep, Dreams; also, though she lay with none, the Hesperides and Blame and Woe and the Fates, and Nemesis to afflict mortal men, and Deceit, Friendship, Age and Strife, which also had gloomy offspring.”[11] “And Earth first bore starry Heaven (Uranus), equal to herself to cover her on every side and to be an ever-sure abiding place for the blessed gods. And earth brought forth, without intercourse of love, the Hills, haunts of the Nymphs and the fruitless sea with his raging swell.”[11] Heaven “gazing down fondly at her (Earth) from the mountains he showered fertile rain upon her secret clefts, and she bore grass flowers, and trees, with the beasts and birds proper to each. This same rain made the rivers flow and filled the hollow places with the water, so that lakes and seas came into being.”[12] The Titans and the Giants “Her (Earth) first children (with heaven) of Semi-human form were the hundred-handed giants Briareus, Gyges, and Cottus. Next appeared the three wild, one-eyed Cyclopes, builders of gigantic walls and master-smiths…..Their names were Brontes, Steropes, and Arges.”[12] Next came the “Titans: Oceanus, Hypenon, Iapetus, Themis, Memory (Mnemosyne), Phoebe also Tethys, and Cronus the wily—youngest and most terrible of her children.”[11] “Cronus hated his lusty sire Heaven (Uranus). -
The Voyage of the Argo and Other Modes of Travel in Apollonius’ Argonautica
THE VOYAGE OF THE ARGO AND OTHER MODES OF TRAVEL IN APOLLONIUS’ ARGONAUTICA Brian D. McPhee A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2016 Approved by: William H. Race James J. O’Hara Emily Baragwanath © 2016 Brian D. McPhee ALL RIGHTS RESERVED ii ABSTRACT Brian D. McPhee: The Voyage of the Argo and Other Modes of Travel in Apollonius’ Argonautica (Under the direction of William H. Race) This thesis analyzes the Argo as a vehicle for travel in Apollonius’ Argonautica: its relative strengths and weaknesses and ultimately its function as the poem’s central mythic paradigm. To establish the context for this assessment, the first section surveys other forms of travel in the poem, arranged in a hierarchy of travel proficiency ranging from divine to heroic to ordinary human mobility. The second section then examines the capabilities of the Argo and its crew in depth, concluding that the ship is situated on the edge between heroic and human travel. The third section confirms this finding by considering passages that implicitly compare the Argo with other modes of travel through juxtaposition. The conclusion follows cues from the narrator in proposing to read the Argo as a mythic paradigm for specifically human travel that functions as a metaphor for a universal and timeless human condition. iii parentibus meis “Finis origine pendet.” iv ACKNOWLEDGEMENTS First and foremost, I owe a tremendous debt of gratitude to my director and mentor, William Race. -
The Classical Mythology of Milton's English Poems
YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor VIII THE CLASSICAL MYTHOLOGY OF Milton's English poems CHARLES GROSVENOR OSGOOD, Ph.D. NEW YORK HENRY HOLT AND COMPANY igoo Ss9a Copyright, igoo, BY CHARLES GROSVENOR OSGOOD, Ph.D. J^ 7/SS TO PROFESSQR ALBERT S. COOK AND PROFESSOR THOMAS D. SEYMOUR — PREFACE The student who diligently peruses the lines of a great poem may go far toward a realization of its char- acter. He may appreciate, in a degree, its loveliness, strength, and direct hold upon the catholic truth of life. But he will be more sensitive to these appeals, and receive gifts that are richer and less perishable, accord- ing as he comprehends the forces by whose interaction the poem was produced. These are of two kinds the innate forces of the poet's character, and certain more external forces, such as, in the case of Milton, are represented by Hellenism and Hebraism. Their activ- ity is greatest where they meet and touch, and at this point their nature and measure are most easily dis- cerned. From a contemplation of the poem in its gene- sis one returns to a deeper understanding and enjoyment of it as a completed whole. The present study, though it deals with but one of the important cultural influ- ences affecting Milton, and with it but in part, endeav- ors by this method to deepen and clarify the apprecia- tion of his art and teaching. My interest in the present work has found support and encouragement in the opinions of Mr. Churton Collins, as expressed in his valuable book. -
A Way of Life
The Passenger: Greece — May 2020 ISBN: 9781787702189 A Way of Life Matteo Nucci Translated by Alan Thawley Rebetiko is rebel music by definition (challenging power, war and conformism), part of the cultural baggage of those displaced from Asia Minor. In recent years it has been reborn and is once again releasing its revolutionary potential. I was initiated into rebetiko by a Russian. His name is Yanni, a skinny guy with a glassy look in his eyes softened by a glint of non-conformity. He carries himself with respect and delicacy, and sooner or later you will come across him if you have fallen in love with this unique music and start frequenting the right places in Athens, the old-time venues that cannot be named because they have to stay on the margins of the law. You will see him bent over his tsipouro, the Greek version of grappa, and his cigarettes rolled from the best tobacco. A blond dandy, a peaceful rebel. Yanni Litovchenko smokes like a rebetis, a rebetiko musician, but he does not play and does not sing. He sits on the margins of these rooms full of music and ashtrays. And he listens. He dreams. Sometimes he will let out a yell or sing a verse under his breath. He has a passion for this music, and if you fall under its spell, succumb to the tales that he tells and his amazing night-time pilgrimages, perhaps you might have the same experience as me. At the beginning I thought he was just an unusual character. -
Managing 'Difficult' Intangible Heritage Through the Application of the Living
I. Poulios Managing ‘difficult’ intangible heritage 3 MANAGING ‘DIFFICULT’ INTANGIBLE HERITAGE THROUGH THE APPLICATION OF THE LIVING HERITAGE APPROACH REFLECTIONS ON THE DOCUMENTARY FILM SILENT WITNESS ABOUT THE PRISON IN THE CITY OF TRIKALA, GREECE / Η ΔΙΑΧΕΙΡΙΣΗ «ΔΥΣΚΟΛΗΣ» ΑΫΛΗΣ ΚΛΗΡΟΝΟΜΙΑΣ ΜΕΣΩ ΤΟΥ ΜΟΝΤΕΛΟΥ ΤΗΣ ΖΩΣΑΣ ΠΟΛΙΤΙΣΜΙΚΗΣ ΚΛΗΡΟΝΟΜΙΑΣ ΣΚΕΨΕΙΣ ΜΕ ΒΑΣΗ ΤΟ ΝΤΟΚΙΜΑΝΤΕΡ ΣΙΩΠΗΛΟΣ ΜΑΡΤΥΡΑΣ ΓΙΑ ΤΗ ΦΥΛΑΚΗ ΤΩΝ ΤΡΙΚΑΛΩΝ Ioannis Poulios / Ιωάννης Πούλιος* ________________________________________________________ ΠΕΡΙΛΗΨΗ Το παρόν άρθρο πραγματεύεται ζητήματα πολιτιστικής πολιτικής και εθνικής μνήμης, με έμφαση στη διαχείριση της «δύσκολης» πολιτισμικής κληρονομιάς της φυλακής των Τρικάλων και με αναφορά στο επιτόπιο μουσείο, αφιερωμένο στον συνθέτη Βασίλη Τσιτσάνη και στο ρεμπέτικο τραγούδι. Το άρθρο βασίζεται στο ντοκιμαντέρ «Σιωπηλός Μάρτυρας» του βραβευμένου σκηνοθέτη Δημήτρη Κουτσιαμπασάκου. Αρχικά, περιγράφεται η φυλακή ως παράδειγμα «δύσκολης» πολιτισμικής κληρονομιάς και *Ioannis Poulios is member of the Adjunct Academic Staff of the Hellenic Open University, and consultant for the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM). He was scientific advisor for the film Silent Witness. [email protected] Museumedu 6 / Autumn 2018, pp. 99-122. Copyright © 2018 by Museum Education and Research Laboratory, University of Thessaly. All rights of reproduction in any form reserved. Museumedu 6 / Autumn 2018 99 I. Poulios Managing ‘difficult’ intangible heritage παρουσιάζεται η προσέγγιση του σκηνοθέτη. Στη συνέχεια, το άρθρο, ακολουθώντας τη δομή της ταινίας, εξετάζει τους τρόπους με τους οποίους διαφορετικές κοινωνικές ομάδες — όπως παρουσιάζονται στο ντοκιμαντέρ — διαχειρίζονται τη φυλακή: α) ομάδες που έχουν συνδεθεί με τη ζωή της φυλακής, π.χ. ποινικοί και πολιτικοί κρατούμενοι και δεσμοφύλακες και β) το κράτος και ο δήμος. -
Officers for 1923 Contents Fossil Lore in Greek and Latin Literature
MICHIGAN ACADEMY OF SCIENCE, ARTS AND OFFICERS FOR 1923 LETTERS President R. A. SMITH, Lansing VOLUME III Vice-Presidents ANTHROPOLOGY, H. H. Bartlett, Ann Arbor CONTAINING PAPERS SUBMITTED AT THE ANNUAL BOTANY, O. A. Farwell, Detroit MEETING IN 1923 ECONOMICS, C. E. Griffin, Ann Arbor he annual volume of Papers of the Michigan LANGUAGE AND LITERATURE, J. W. Scholl, Ann Arbor T Academy of Science, Arts and Letters is issued GEOLOGY AND GEOGRAPHY, A. B. Peck, Ann Arbor under the joint direction of the Council of the Academy PSYCHOLOGY, T. S. Henry, Kalamazoo and of the Executive Board of the Graduate School of SANITARY AND MEDICAL SCIENCE, R. L. Kahn, Lansing the University of Michigan. The editor for the Academy ZOOLOGY, T. L. Hankinson, Ypsilanti is Paul S. Welch; for the University, Eugene S. Secretary McCartney. CARL D. LA RUE, Ann Arbor Previous publications of The Michigan Academy of Librarian Science now known as The Michigan Academy of W. W. BISHOP, Ann Arbor Science, Arts and Letters, were issued under the title, Annual Report of the Michigan Academy of Science. Editor Twenty-two volumes were published, of which the first P. S. WELCH, Ann Arbor five are out of print. Copies of volumes numbered six to twenty-two are still available for distribution and will be sent on exchange so long as the editions last. CONTENTS Applications for copies should be addressed to the ANTHROPOLOGY Librarian of the University of Michigan. FOSSIL LORE IN GREEK AND LATIN LITERATURE. Eugene S. Annual Reports embracing the proceedings of the McCartney..........................................................................1 Academy will however, continue to be published. -
Idiom-Independent Harmonic Pattern Recognition Based on a Novel Chord Transition Representation
IDIOM-INDEPENDENT HARMONIC PATTERN RECOGNITION BASED ON A NOVEL CHORD TRANSITION REPRESENTATION Emilios Cambouropoulos, Andreas Katsiavalos, Costas Tsougras School of Music Studies, Aristotle University of Thessaloniki, Greece [email protected], [email protected], [email protected] ABSTRACT On the other hand, if harmonic analytic models are used to derive a harmonic description of pieces (e.g., chords as In this paper, a novel chord transition representation (Cam- degrees within keys or tonal functions), more bouropoulos 2012), that draws on the interval function between two collections of notes proposed by Lewin (1959), is explored sophisticated processing is possible; in this case, however, in a harmonic recognition task. This representation allows the models rely on complicated harmonic analytic systems, encoding of chord transitions at a level higher that individual and, additionally, are limited to the tonal idiom. notes that is transposition-invariant and idiom-independent All the above models rely on some representation of (analogous to pitch intervals that represent transitions between individual chords. There are very few attempts, however, notes). A harmonic transition between two chords is represented by a Directed Interval Class (DIC) vector. The proposed 12- to represent chord transitions. For instance, de Haas et al. dimensional vector encodes the number of occurrence of all di- (2008, 2011) represent chord transitions as chord distance rectional interval classes (from 0 to 6 including +/- for direction) values adapting a distance metric from Lerdahl’s Tonal between all the pairs of notes of two successive chords. Apart Pitch Space (2001); however, a chord transition being from octave equivalence and interval inversion equivalence, this represented by a single integer value seems to be an representation preserves directionality of intervals (up or down). -
20Th European Conference on Mobility Management May-June 2016 Table of Contents 1
Organizers Under the aegis ARISTOTLE UNIVERSITY UNIVERSITY MUNICIPALITY Greece OF THESSALONIKH OF PIRAEUS OF ATHENS Smart Invites mobility solutions for cities and people 20th European Conference on Mobility Management MAy-JUNE 2016 Table of contents 1 Invitation Letter 3 Accessibility 51 Organizing Committee 5 National Carrier 53 Aristotle University of Thessaloniki - Department of Civil Engineering 7 Duration of Flights to Athens 56 University of Piraeus - Department of Maritime Studies 8 Moving Around Athens 59 Brief profile of the Municipality of Athens 9 Conference Venue Proposal Potential Partners 10 Technopolis City of Athens 63 Letters of Support 10 Proposed Conference Halls 66 Motto & Tentative Thematic Areas of the Conference 15 Accessibility 70 Mobility Management Projects Alternative Venue Option - Eugenides Foundation 73 carpooling.gr 18 Proposed Conference Halls 76 Wiseride City Route Calculator 20 Accessibility 79 Cyclopolis 21 Conference Attendance & Recordings 81 SEE MMS South East European Mobility Management Scheme 22 Accommodation in close proximity to the Conference Venues Metropolitan Bicycle Network 24 Accommodation in close proximity to the Conference Venue Technopolis 84 Athens Info-Point kiosks 25 City of Athens Accommodation in close proximity to the Conference Venue Eugenides Citizen & NGO Initiatives Foundation 86 Friday-Freeday 26 Headquarter & Satellite Hotels PERISTERO-petalies 27 5* Hotels 89 Other Projects 4* Hotels 90 Re-Think Athens 28 3* Hotels 93 Development of the new Line 4 of the Athens Metro 30