Greek Religious Thought from Homer to the Age of Alexander
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Greek Myths - Creatures/Monsters Bingo Myfreebingocards.Com
Greek Myths - Creatures/Monsters Bingo myfreebingocards.com Safety First! Before you print all your bingo cards, please print a test page to check they come out the right size and color. Your bingo cards start on Page 3 of this PDF. If your bingo cards have words then please check the spelling carefully. If you need to make any changes go to mfbc.us/e/xs25j Play Once you've checked they are printing correctly, print off your bingo cards and start playing! On the next page you will find the "Bingo Caller's Card" - this is used to call the bingo and keep track of which words have been called. Your bingo cards start on Page 3. Virtual Bingo Please do not try to split this PDF into individual bingo cards to send out to players. We have tools on our site to send out links to individual bingo cards. For help go to myfreebingocards.com/virtual-bingo. Help If you're having trouble printing your bingo cards or using the bingo card generator then please go to https://myfreebingocards.com/faq where you will find solutions to most common problems. Share Pin these bingo cards on Pinterest, share on Facebook, or post this link: mfbc.us/s/xs25j Edit and Create To add more words or make changes to this set of bingo cards go to mfbc.us/e/xs25j Go to myfreebingocards.com/bingo-card-generator to create a new set of bingo cards. Legal The terms of use for these printable bingo cards can be found at myfreebingocards.com/terms. -
THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
Wjcl Certamen 2016 Advanced Division Round One
WJCL CERTAMEN 2016 ADVANCED DIVISION ROUND ONE 1. Brontes, Steropes, and Arges were the name of these beings that helped Hephaestus in his forge under Mt. Etna. What is the name typically given to these three? CYCLOPES B1. Cottus, Briareus, and Gyges are the names of what beings with fifty heads and one hundred hands? HECATONCHEIRES B2. The Cyclopes and Hecatoncheires were siblings. Name their parents. URANUS AND GAIA 2. From what Latin verb with what meaning is the English word “tactile” derived? TANGŌ, TANGERE MEANING TO TOUCH B1. From what Latin verb with what meaning is the English word “nuptial” derived? NŪBŌ, NŪBERE MEANING TO MARRY/VEIL B2. From what Latin verb with what meaning is the English word “pensive” derived? PENDŌ, PENDERE MEANING TO HANG/WEIGH 3. Which governor of Syria declared himself emperor upon hearing a rumor that Marcus Aurelius had died and continued his revolt even after learning that Marcus Aurelius was alive? AVIDIUS CASSIUS B1. Which governor of Germania Superior led a rebellion against the emperor Domitian in 89 CE but failed due to a sudden thaw of the Rhine that prevented his allies from joining him? LUCIUS ANTONIUS SATURNINUS B2. Which governor of Syria declared himself emperor when Pertinax died and was defeated in battle, then killed while fleeing to Parthia? PESCENNIUS NIGER 4. What Latin word most nearly means “a groan”? GEMITUS, GEMITŪS B1. What Latin word most nearly means “reputation”? FĀMA, FAMAE B2. What Latin word most nearly means “fleet”? CLASSIS, CLASSIS 5. What author describes the plague of Athens in a didactic work edited by Cicero entitled De Rerum Natura? LUCRETIUS B1. -
Update 4.9 'Omen of Change'
Update 4.9 ‘Omen of Change’ Contents Abyss ..................................................................................................................................................3 Instances ............................................................................................................................................5 Error Corrections ............................................................................................................................7 Fortress Battles ...................................................................................................................................8 New Fortress Battle Times ..............................................................................................................9 PvP .....................................................................................................................................................9 Items ..................................................................................................................................................9 Error Corrections .......................................................................................................................... 17 UI...................................................................................................................................................... 18 Error Corrections .......................................................................................................................... 24 Quests ............................................................................................................................................. -
Minding Time in an Archetypal Cosmos
Minding Time in an Archetypal Cosmos Matthew T. Segall What is time? Who can give a brief or easy answer? Who can even form a conception of it to be put in words? Yet what do we mention more often or familiarly in our conversation than time? We must therefore know what we are talking about when we refer to it, or when we hear someone else doing so. But what, exactly, is that? I know what it is if no one asks; but if anyone does, then I cannot explain it. -Saint Augustine, Confessions1 Time as a whole and in its parts bears to Space as a whole and its corresponding parts a relation analogous to the relation of mind to its equivalent bodily or nervous basis; or to put the matter shortly . Time is the Mind of Space and Space the body of Time. -Samuel Alexander, Space, Time, and Deity2 Sixteen-hundred years after Augustine’s death, despite humanity’s tremendous advances in scientific knowledge and technological power, time remains as mysterious as ever. On the one hand, the experiential passage of time is among the most mundane facts of our day-to-day lives. We say, “I am twenty-nine years old,” or “Let’s meet Wednesday for lunch,” and no one has the slightest problem understanding what we mean. On the other hand, as even Augustine, one of the most philosophically learned persons of his era, was forced to admit, when we stop to ask “What is time?,” our intellect is stunned into silence. Despite time’s mysteriousness, many thinkers have overcome this silence to venture an answer. -
Myth, the Marvelous, the Exotic, and the Hero in the Roman D'alexandre
Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Paul Henri Rogers A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages (French) Chapel Hill 2008 Approved by: Dr. Edward D. Montgomery Dr. Frank A. Domínguez Dr. Edward D. Kennedy Dr. Hassan Melehy Dr. Monica P. Rector © 2008 Paul Henri Rogers ALL RIGHTS RESERVED ii Abstract Paul Henri Rogers Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Under the direction of Dr. Edward D. Montgomery In the Roman d’Alexandre , Alexandre de Paris generates new myth by depicting Alexander the Great as willfully seeking to inscribe himself and his deeds within the extant mythical tradition, and as deliberately rivaling the divine authority. The contemporary literary tradition based on Quintus Curtius’s Gesta Alexandri Magni of which Alexandre de Paris may have been aware eliminates many of the marvelous episodes of the king’s life but focuses instead on Alexander’s conquests and drive to compete with the gods’ accomplishments. The depiction of his premature death within this work and the Roman raises the question of whether or not an individual can actively seek deification. Heroic figures are at the origin of divinity and myth, and the Roman d’Alexandre portrays Alexander as an essentially very human character who is nevertheless dispossessed of the powerful attributes normally associated with heroic protagonists. -
2 the Muse “Former Poets,” and the Problem of the Past
2 The Muse “former poets,” and the problem of the past Past and Present in Archaic Greek Poetry “old” and “new” in pindar In this chapter, I consider the ways in which epinician poetry regards and represents the past. The past plays a complicated role in this genre. It is of great significance for the epinician project: contempo- rary athletic victories recall and invite comparison with the deeds of heroes from the distant past. But the primary and immediate function of epinician poetry is to praise contemporaries—men of the present. Because of this, a tension is set up between past and present as epinician themes. In epinician poetry, a besetting concern is that the past should not eclipse the present. Epinician poetry repeatedly emphasizes a focus on the present as part of its formal program. In Nemean 4, the poet says that typically, victors are praised in their own day, and by their peers. The poet declines to celebrate the victor’s dead uncle, a former victor at the Isthmus, because, he says, the victor’s grandfather is better qualified to do so. “For some belong to one generation, others to another; but each person hopes to speak best of what he himself has encountered” (91–92). Pindar’s odes also contain many internal references to the here- and-now aspect of epinician performance. The poet urges that it is necessary to celebrate “today” [σα µερν, O. 6.28; P. 4.1–2], and prom- ises a song “right now” [νυν , O. 11.11]. He exhorts the Muses to shed splendor, or shoot shafts of song “now” (N. -
Slaves, Sex, and Transgression in Greek Old Comedy
Slaves, Sex, and Transgression in Greek Old Comedy By Daniel Christopher Walin A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mark Griffith, Chair Professor Donald J. Mastronarde Professor Kathleen McCarthy Professor Emily Mackil Spring 2012 1 Abstract Slaves, Sex, and Transgression in Greek Old Comedy by Daniel Christopher Walin Doctor of Philosophy in Classics University of California, Berkeley Professor Mark Griffith, Chair This dissertation examines the often surprising role of the slave characters of Greek Old Comedy in sexual humor, building on work I began in my 2009 Classical Quarterly article ("An Aristophanic Slave: Peace 819–1126"). The slave characters of New and Roman comedy have long been the subject of productive scholarly interest; slave characters in Old Comedy, by contrast, have received relatively little attention (the sole extensive study being Stefanis 1980). Yet a closer look at the ancestors of the later, more familiar comic slaves offers new perspectives on Greek attitudes toward sex and social status, as well as what an Athenian audience expected from and enjoyed in Old Comedy. Moreover, my arguments about how to read several passages involving slave characters, if accepted, will have larger implications for our interpretation of individual plays. The first chapter sets the stage for the discussion of "sexually presumptive" slave characters by treating the idea of sexual relations between slaves and free women in Greek literature generally and Old Comedy in particular. I first examine the various (non-comic) treatments of this theme in Greek historiography, then its exploitation for comic effect in the fifth mimiamb of Herodas and in Machon's Chreiai. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 Si Tantus Amor Belli Tibi, Roma, Nefandi. Love and Strife in Lucan's Bellum Civile Giulio Celotto Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES SI TANTUS AMOR BELLI TIBI, ROMA, NEFANDI. LOVE AND STRIFE IN LUCAN’S BELLUM CIVILE By GIULIO CELOTTO A Dissertation submitted to the Department of Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2017 Giulio Celotto defended this dissertation on February 28, 2017. The members of the supervisory committee were: Tim Stover Professor Directing Dissertation David Levenson University Representative Laurel Fulkerson Committee Member Francis Cairns Committee Member The Graduate School has verified and approved the above5na ed co ittee e bers, and certifies that the dissertation has been appro0ed in accordance 1ith uni0ersity require ents. ii ACKNOWLEDGEMENTS The co pletion of this dissertation could not ha0e been possible 1ithout the help and the participation of a nu ber of people. It is a great pleasure to be able to ac3no1ledge the here. I a ost grateful to y super0isor, Professor Ti Sto0er, for his guidance and dedication throughout the entire ti e of y research. I 1ish to e6tend y than3s to the other Co ittee e bers, Professors Laurel Ful3erson, Francis Cairns, and Da0id Le0enson, for their ad0ice at e0ery stage of y research. I 1ould li3e to e6press y deepest gratitude to Professor Andre1 7issos, 1ho read the entire anuscript at a later stage, and offered any helpful suggestions and criticis s. -
Fish Lists in the Wilderness
FISH LISTS IN THE WILDERNESS: The Social and Economic History of a Boiotian Price Decree Author(s): Ephraim Lytle Source: Hesperia: The Journal of the American School of Classical Studies at Athens, Vol. 79, No. 2 (April-June 2010), pp. 253-303 Published by: The American School of Classical Studies at Athens Stable URL: http://www.jstor.org/stable/40835487 . Accessed: 18/03/2014 10:14 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The American School of Classical Studies at Athens is collaborating with JSTOR to digitize, preserve and extend access to Hesperia: The Journal of the American School of Classical Studies at Athens. http://www.jstor.org This content downloaded from 71.168.218.10 on Tue, 18 Mar 2014 10:14:19 AM All use subject to JSTOR Terms and Conditions HESPERIA 79 (2OIO) FISH LISTS IN THE Pages 253~3°3 WILDERNESS The Social and Economic History of a Boiotian Price Decree ABSTRACT This articlepresents a newtext and detailedexamination of an inscribedHel- lenisticdecree from the Boiotian town of Akraiphia (SEG XXXII 450) that consistschiefly of lists of fresh- and saltwaterfish accompanied by prices. The textincorporates improved readings and restoresthe final eight lines of the document,omitted in previouseditions. -
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). -
Bearing Razors and Swords: Paracomedy in Euripides’ Orestes
%HDULQJ5D]RUVDQG6ZRUGV3DUDFRPHG\LQ(XULSLGHV· 2UHVWHV &UDLJ-HQG]D $PHULFDQ-RXUQDORI3KLORORJ\9ROXPH1XPEHU :KROH1XPEHU )DOOSS $UWLFOH 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV '2, KWWSVGRLRUJDMS )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by University of Kansas Libraries (5 Dec 2016 18:13 GMT) BEARING RAZORS AND SWORDS: PARACOMEDY IN EURIPIDES’ ORESTES CRAIG JENDZA Abstract. In this article, I trace a nuanced interchange between Euripides’ Helen, Aristophanes’ Thesmophoriazusae, and Euripides’ Orestes that contains a previ- ously overlooked example of Aristophanic paratragedy and Euripides’ paracomic response. I argue that the escape plot from Helen, in which Menelaus and Helen flee with “sword-bearing” men ξιφηφόρος( ), was co-opted in Thesmophoriazusae, when Aristophanes staged Euripides escaping with a man described as “being a razor-bearer” (ξυροφορέω). Furthermore, I suggest that Euripides re-appropriates this parody by escalating the quantity of sword-bearing men in Orestes, suggest- ing a dynamic poetic rivalry between Aristophanes and Euripides. Additionally, I delineate a methodology for evaluating instances of paracomedy. PARATRAGEDY, COMEDY’S AppROPRIATION OF LINES, SCENES, AND DRAMATURGY FROM TRAGEDY, constitutes a source of the genre’s authority (Foley 1988; Platter 2007), a source of the genre’s identity as a literary underdog in comparison to tragedy (Rosen 2005), and a source of its humor either through subverting or ridiculing tragedy (Silk 1993; Robson 2009, 108–13) or through audience detection and identification of quotations (Wright 2012, 145–50).1 The converse relationship between 1 Rau 1967 marks the beginning of serious investigation into paratragedy by analyz- ing numerous comic scenes that are modeled on tragic ones and providing a database, with hundreds of examples, of tragic lines that Aristophanes parodies.