Founding Athens: Ion and Origin Myth.
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
Dear Workshoppers, Thank You for Taking the Time to Read and Discuss
Gerónimo Sarmiento Cruz Chapter I, 5/15 Draft — do not circulate Dear workshoppers, Thank you for taking the time to read and discuss my work. What follows is still a rough draft of the first chapter of my dissertation, provisionally titled Anational Poetics. In brief, by anational I mean an approach to an order of ideas, images, and concepts whose construction and inner logics are independent of the socio-historical ubiquity of the nation. Mainly relying on two concepts, Deleuze and Guattari’s minor literature and James C. Scott’s hidden transcripts, I am elaborating the anational as a hermeneutics allowing us to read against the backdrop of the nation in order to trace and constellate alternative accounts of collectivities as formulated by minority poetries and poetics. The chapter I am workshopping analyzes the work of Gloria Anzaldúa through the lens of the nation form. In relation to the anational, a lot of the work I do in this chapter is still preparatory—I begin to sketch the concept only towards the end of the chapter. I apologize for the length of the document, yet it is important for me that I workshop the entire thing so that I can assess whether the chapter-format is actually working well and conveying what I intend. If you’re pressed for time, you can read the intro and first section only. I would like to receive all feedback you’re willing to provide; yet more specifically I would like to hear your thoughts on the coherence and legibility of the theory employed and on the pertinence and persuasiveness of the structure as prefatory to the anational. -
Ion First Folio
FIRST FOLIO Teacher Curriculum Guide Table of Contents Page Number Welcome to the About the Play Shakespeare Theatre Company’s Synopsis of Ion……………………………….2 production of Interview with Director Ethan McSweeny….3 Ion Family Life in Ion ……………………………..4 by Euripedes Intro to Greek Mythology and Drama…..….5 People and Places in Ion ...………………….6 This season, the Shakespeare Theatre Company presents seven plays by William Classroom Connections Shakespeare and other classic playwrights. Before and After the Performance….....……7 Consistent with STC's central mission to be Resource List, Standards of Learning……...8 the leading force in producing and preserving Theatre Etiquette………………………….….9 the highest quality classic theatre , the Education Department challenges learners of The First Folio Teacher Curriculum Guide for all ages to explore the ideas, emotions and Ion was developed by the Shakespeare principles contained in classic texts and to Theatre Company Education Department, discover the connection between classic with articles compiled and written by Abby theatre and our modern perceptions. We Jackson and Michelle Jackson. Layout and hope that this First Folio Teacher Curriculum editing by Caroline Alexander. Guide will prove useful as you prepare to bring your students to the theatre! For the 2008-09 season, the Education Department will publish First Folio Teacher Curriculum Guides for our productions of Romeo and Juliet, Twelfth Night and Ion. First Folio Guides provide information and activities to help students form a personal connection to the play before attending the production. First Folio Guides contain material about the playwrights, their world and their works. Also included are approaches to exploring the plays and Next Steps productions in the classroom before and after If you would like more information on how the performance. -
Take the Effective June 2016
2016-2017 Take the EFFECTIVE JUNE 2016 A comprehensive guide to touring Nashville attractions riding MTA buses and the Music City Star. For schedules and other information, visit NashvilleMTA.org or call (615) 862-5950. Nashville MTA & RTA @Nashville_MTA RIDE ALL DAY FOR $5.25 OR LESS Purchase at Music City Central, from the driver, or online at NashvilleMTA.org Take the The Nashville MTA is excited to show you around Music City, whether you’re visiting us for the first time, fifth time, or even if you’re a Middle Tennessee resident enjoying hometown attractions. There’s so much to see and do, and the MTA bus system is an easy, affordable way to see it all. We operate a free downtown service, the Music City Circuit, which is designed to help you reach sports and entertainment venues, downtown hotels, residences, and offices more quickly and easily. The Blue and Green Circuits operate daily with buses traveling to the Bicentennial Mall and the Gulch, a LEED certified community. The Music City Circuit connects many key downtown destinations including the Farmers’ Market, First Tennessee Park, Schermerhorn Symphony Center, Riverfront Station, and the Gulch’s restaurants, bars and condominium towers and numerous points in between. Of course, there are also our other MTA and regional bus routes throughout Middle Tennessee that can be utilized. You can access them by taking a bus to Music City Central, our downtown transit station. Once there, you’ll see how we’re making public transportation more convenient and comfortable, and how making the most of your Nashville experience is now even easier with the MTA. -
Parthenon 1 Parthenon
Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
Preliminary Studies on the Scholia to Euripides
Preliminary Studies on the Scholia to Euripides CALIFORNIA CLASSICAL STUDIES NUMBER 6 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrologi- cal and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) is supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Metaphys- ics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 PRELIMINARY STUDIES ON THE SCHOLIA TO EURIPIDES Donald J. Mastronarde CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2017 by Donald J. Mastronarde. California Classical Studies c/o Department of Classics University of California Berkeley, California 94720–2520 USA http://calclassicalstudies.org email: [email protected] ISBN 9781939926104 Library of Congress Control Number: 2017916025 CONTENTS Preface vii Acknowledgments xi Abbreviations xiii Sigla for Manuscripts of Euripides xvii List of Plates xxix 1. -
Tine Statue of Athena in the Parthenon
REMARKS UPON THE COLOSSALCHRYSELEPHAN- TINE STATUE OF ATHENA IN THE PARTHENON INTRODUCTION IT is not to be expectedthat even fragmentsof the gold and ivory colossal statue of Athena in the Parthenon should have survived the ravages of time. However, a good deal is known about the statue from small copies in the round and from coins, plaques, gems and the like; also, the famous statue is mentioned by ancient writers, sometimes at considerable length. Consequently we have a fairly good idea of her appearance. And when we come to consider the pedestal on which the statue stood, we find that there are data which can be studied to advantage. Obviously the importance of the statue called for a carefully designed pedestal. Thus it is desirable that all existing data concerning the pedestal be recorded. Let us, then, make a few remarks not only about the colossal statue, but also about the pedestal on which the statue stood. I ATHENA PARTHENOS, THE CLIMAX OF THE PANATHENEA Figure 1 shows the position of the colossal statue (often referred to as the Parthenos) in the east cella of the temple. The blocks which give the position of the statue are toward the west end of the nave and on the axis of the temple. They are poros blocks of the type used for foundations. They are flush with the marble pave- ment of the nave, and they are in situ. The poros blocks, thirty in number, cover an area so extensive that they at once tell us that the statue which stood above them was of colossal size (Figs. -
([email protected]) Boston University CAMWS 2018 Correcting Herodotus 1.56: the Histories’ Non-Answer to the Pelasgian Question
Matthew W. Kelley ([email protected]) Boston University CAMWS 2018 Correcting Herodotus 1.56: The Histories’ Non-answer to the Pelasgian Question I. The Grammar 1) Hdt. 1.56.1-2: ...μετὰ δὲ ταῦτα ἐφρόντιζε ἱστορέων τοὺς ἂν Ἑλλήνων δυνατωτάτους ἐόντας προσκτήσαιτο φίλους, [2] ἱστορέων δὲ εὕρισκε Λακεδαιμονίους καὶ Ἀθηναίους προέχοντας τοὺς μὲν τοῦ Δωρικοῦ γένεος τοὺς δὲ τοῦ Ἰωνικοῦ. ταῦτα γὰρ ἦν τὰ προκεκριμένα, ἐόντα τὸ ἀρχαῖον τὸ μὲν Πελασγικὸν τὸ δὲ Ἑλληνικὸν ἔθνος. καὶ τὸ μὲν οὐδαμῇ κω ἐξεχώρησε, τὸ δὲ πολυπλάνητον κάρτα. “Afterward, [Croesus] took care to inquire whom of the Greeks, being the most powerful, he should acquire as his friends. He made the inquiry and found that the Spartans were best of the Doric race and the Athenians the best of the Ionic. For these races were preeminent, the first being of old a Pelasgic tribe and the other a Hellenic one. And the first has not yet left their home for anywhere, while the other is very much a wandering tribe.” 2) Raymond Weil is the only scholar to read the lines as I propose: “Les Athéniens sont un ‘ethnos’ héllenique qui fait partie du ‘génos’ ionien, les Lacédémoniens un ‘ethnos’ pélasgique à rattacher au ‘génos’ dorien.” - Weil (1960) 385. II. Arguments for Common Translation ➢ Dorian invasion = πολυπλάνητον ➢ Athenian authochthony = οὐδαμῇ κω ἐξεχώρησε ➢ Herodotus ties Athenians or Ionians to Pelasgians 3 times. ○ 1.57, 7.94-95 (both qualified), 8.44 (back when all of Greece was Pel.) ➢ Dorians are Hellenes par excellence. III. Why Pelasgian Dorians are possible ➢ Dorians did travel, but no more than Ionians. -
Reading Death in Ancient Rome
Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.