The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
BRAS Newsletter August 2013
www.brastro.org August 2013 Next meeting Aug 12th 7:00PM at the HRPO Dark Site Observing Dates: Primary on Aug. 3rd, Secondary on Aug. 10th Photo credit: Saturn taken on 20” OGS + Orion Starshoot - Ben Toman 1 What's in this issue: PRESIDENT'S MESSAGE....................................................................................................................3 NOTES FROM THE VICE PRESIDENT ............................................................................................4 MESSAGE FROM THE HRPO …....................................................................................................5 MONTHLY OBSERVING NOTES ....................................................................................................6 OUTREACH CHAIRPERSON’S NOTES .........................................................................................13 MEMBERSHIP APPLICATION .......................................................................................................14 2 PRESIDENT'S MESSAGE Hi Everyone, I hope you’ve been having a great Summer so far and had luck beating the heat as much as possible. The weather sure hasn’t been cooperative for observing, though! First I have a pretty cool announcement. Thanks to the efforts of club member Walt Cooney, there are 5 newly named asteroids in the sky. (53256) Sinitiere - Named for former BRAS Treasurer Bob Sinitiere (74439) Brenden - Named for founding member Craig Brenden (85878) Guzik - Named for LSU professor T. Greg Guzik (101722) Pursell - Named for founding member Wally Pursell -
Kretan Cult and Customs, Especially in the Classical and Hellenistic Periods: a Religious, Social, and Political Study
i Kretan cult and customs, especially in the Classical and Hellenistic periods: a religious, social, and political study Thesis submitted for degree of MPhil Carolyn Schofield University College London ii Declaration I, Carolyn Schofield, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been acknowledged in the thesis. iii Abstract Ancient Krete perceived itself, and was perceived from outside, as rather different from the rest of Greece, particularly with respect to religion, social structure, and laws. The purpose of the thesis is to explore the bases for these perceptions and their accuracy. Krete’s self-perception is examined in the light of the account of Diodoros Siculus (Book 5, 64-80, allegedly based on Kretan sources), backed up by inscriptions and archaeology, while outside perceptions are derived mainly from other literary sources, including, inter alia, Homer, Strabo, Plato and Aristotle, Herodotos and Polybios; in both cases making reference also to the fragments and testimonia of ancient historians of Krete. While the main cult-epithets of Zeus on Krete – Diktaios, associated with pre-Greek inhabitants of eastern Krete, Idatas, associated with Dorian settlers, and Kretagenes, the symbol of the Hellenistic koinon - are almost unique to the island, those of Apollo are not, but there is good reason to believe that both Delphinios and Pythios originated on Krete, and evidence too that the Eleusinian Mysteries and Orphic and Dionysiac rites had much in common with early Kretan practice. The early institutionalization of pederasty, and the abduction of boys described by Ephoros, are unique to Krete, but the latter is distinct from rites of initiation to manhood, which continued later on Krete than elsewhere, and were associated with different gods. -
The Roles of Solon in Plato's Dialogues
The Roles of Solon in Plato’s Dialogues Dissertation Presented in partial fulfillment of the requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Samuel Ortencio Flores, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Bruce Heiden, Advisor Anthony Kaldellis Richard Fletcher Greg Anderson Copyrighy by Samuel Ortencio Flores 2013 Abstract This dissertation is a study of Plato’s use and adaptation of an earlier model and tradition of wisdom based on the thought and legacy of the sixth-century archon, legislator, and poet Solon. Solon is cited and/or quoted thirty-four times in Plato’s dialogues, and alluded to many more times. My study shows that these references and allusions have deeper meaning when contextualized within the reception of Solon in the classical period. For Plato, Solon is a rhetorically powerful figure in advancing the relatively new practice of philosophy in Athens. While Solon himself did not adequately establish justice in the city, his legacy provided a model upon which Platonic philosophy could improve. Chapter One surveys the passing references to Solon in the dialogues as an introduction to my chapters on the dialogues in which Solon is a very prominent figure, Timaeus- Critias, Republic, and Laws. Chapter Two examines Critias’ use of his ancestor Solon to establish his own philosophic credentials. Chapter Three suggests that Socrates re- appropriates the aims and themes of Solon’s political poetry for Socratic philosophy. Chapter Four suggests that Solon provides a legislative model which Plato reconstructs in the Laws for the philosopher to supplant the role of legislator in Greek thought. -
Ovid Book 12.30110457.Pdf
METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX. -
General Index
GENERAL INDEX A.GILIM, and n. Aesopic tradition, , and abstractions, n. nn. –, Acarnania, Aetna, , Acastus, Aetna, n. Accius, and n. Agamemnon, n. , , , accusative, , n. , –, , –, , – Agdistis, Achelous, Agenor, Achilles, , , , , , , , ages, myth of, see races, myth of –, , , , , Agias of Troezen, , Acontius, , n. , , agriculture, , , , , , – and n. , , , , , –, Actaeon, n. , , , , n. , –, ; Actor, agriculture section in Works and Acusilaus of Argos, and n. , Days, , , –, and n. Agrius, Adad, aidos, n. , ; personified, , adamant, adjective(s), , , Aietes, Admonitions of Ipuwar,andn. Aigipan, Adodos, ainos, , –, Adrasteia, Aither, and n. Adriatic (sea), Aithon, , n. Aegean (sea), , , aitiology, , , nn. –, Aegimius, – and n. , , , and Aegle, , n. , , , , Aelian Ajax son of Oileus, Historical miscellany, , Ajax son of Telamon, , , – and n. Aeolic dialect, , –, , Akkadian, n. , n. , , , , –; East Al Mina, , or Asiatic Aeolic, –, Alalu, , n. , , Alcaeus, , , n. Aeolids, , , Alcidamas, , , , , , Aeolis, Eastern, , , –, , n. Aeolism, , , , Alcinous, , n. , n. , Aeolus, –, , , , Aeschines, Alcmaeonidae, Aeschylus, , , , and Alcmaeonis, n. , Alcman, n. , and n. , Prometheus Bound, n. , and n. n. Alcmaon, – general index Alcmene, –, –, Antoninus Liberalis, , , n. , , , Anu, –, , –, –, aoidos see singer Alcyone, , , , aorist, , –, Alexander Aetolus, , n. apate, ; personified, Alexander the Great, n. , Aphrodite, , , n. , and n. , n. , and n. , -
Classic Collection Extrait De Parfum
classic collection Extrait de Parfum Here they are, inspired by travel notes in a TTPROF/ARE TTPROF/LAU Extrait de Parfum ROUND Extrait de Parfum SQUARE as ancient and well-worn as the knowledge of leather-bound notebook 100 ml - 3,4 fl. oz. 100 ml - 3,4 fl. oz. our craft (passed down for three generations): two new creations, perfumes with notes 66 mm h 97 mm 56x56 mm h 97 mm of memory and soul, perfectly capturing the emotions. These perfumes represent two 2,60 in h 3,82 in 2,20x2,20 in h 3,82 in more steps in this marvellous and ongoing journey, towards the magnificence of fire and emotions of fantastical experiences and encounters. The most carefree and joyful stop on this incredible journey is the beautiful Sicily, where History, Art and Nature are intertwined The most bohemian stop on this unforgettable journey is the mythical Paris during a rainy autumn day, but warm with winding in an enchanting sea of emotions. Wild beaches, ancient ruins and squares surrounded by baroque buildings frame this Mediterranean watercolours, blended as in painting by Renoir. The smell of the rain beating on the slate roof mixes with the stone streets lit by place that embodies one of the most mysterious and, at the same time, oldest of Italian beauties. All the colourful sounds of Sicily dim lights. A small fire at a crossroads of Montmartre heats musicians and acrobats that await tourists after the rain. The magical are enclosed in this exquisite perfume extract. You will find delicious fruits paired with sublime smelling flowers, before reverberating atmosphere is seeped with precious and rare scents that echo the mysterious art of a timeless place. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
Myths and Legends: Odysseus and His Odyssey, the Short Version by Caroline H
Myths and Legends: Odysseus and his odyssey, the short version By Caroline H. Harding and Samuel B. Harding, adapted by Newsela staff on 01.10.17 Word Count 1,415 Level 1030L Escaping from the island of the Cyclopes — one-eyed, ill-tempered giants — the hero Odysseus calls back to the shore, taunting the Cyclops Polyphemus, who heaves a boulder at the ship. Painting by Arnold Böcklin in 1896. SECOND: A drawing of a cyclops, courtesy of CSA Images/B&W Engrave Ink Collection and Getty Images. Greek mythology began thousands of years ago because there was a need to explain natural events, disasters, and events in history. Myths were created about gods and goddesses who had supernatural powers, human feelings and looked human. These ideas were passed down in beliefs and stories. The following stories are about Odysseus, the son of the king of the Greek island of Ithaca and a hero, who was described to be as wise as Zeus, king of the gods. For 10 years, the Greek army battled the Trojans in the walled city of Troy, but could not get over, under or through the walls that protected it. Finally, Odysseus came up with the idea of a large hollow, wooden horse, that would be filled with Greek soldiers. The people of Troy woke one morning and found that no army surrounded the city, so they thought the enemy had returned to their ships and were finally sailing back to Greece. A great horse had been left This article is available at 5 reading levels at https://newsela.com. -
Virgil and the Tempest
VIRGIL AND THE TEMPEST The Politics of Imitation Donna B. Hamilton Virgil and The Tempest offers a new assess ment of the art and politics of Shakespeare's comic masterpiece by examining its relation ship to both the contemporary political con text and to Virgil's Aeneid. Challenging the view that The Tempest supports the absolutist theories and policies of King James I, Donna Hamilton instead shows how the play pre sents an argument for a limited monarchy. Virgil and James I each represent a set of symbols and idioms that Shakespeare appro priates for his own use in The Tempest. In the process, he pays homage to their respective eminence and brings them into dialogic rela tion with each other, changing the language to suit his purposes. This means rewriting the Aeneid to suit a new time and situation, and it means subtly altering the king's language to present a strong argument for constitu tionalism. Scholars who have emphasized the "trans cendent" Shakespeare have sometimes failed to recognize the playwright's passion for resistance, a passion nowhere more cunningly present than in The Tempest. Sixteenth- and seventeenth-century plays were character ized by an indirection that only a practiced rhetorical skill could produce, a skill that pur chased not only safety, but respect, author ity, and power. This skill was equally useful to writers engaged in oppositional politics and to apologists for the established authority. Shakespeare's work, therefore, cannot be fully appreciated by today's readers without being sufficiently historicized. Virgil and The Tempest Virgil and The Tempest THE POLITICS OF IMITATION Donna B. -
Renaissance Receptions of Ovid's Tristia Dissertation
RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological. -
8 Tales of Lovers.Pdf
NAME ________________________________________________ PAGE 1 Complete this handout as you read “Eight Brief Tales of Lovers” on p.135-159. Pyramus and Thisbe (pronounced PEER-uh-mus and THIZ-bee) What separates Pyramus and Thisbe? How do they plan to be together? How does their plan fail? What natural phenomenon is explained through this story? Does this tale remind you of another famous love story? Hmmm... Orpheus and Eurydice (pronounced OR-fee-us and your-ID-ih-see) What special talent/gift does Orpheus possess? Why? How do these two lovers meet? What happens to Eurydice? What must Orpheus do / where must he go? Is Orpheus successful? Explain. What happens to Orpheus? What natural phenomenon is explained through this story? Can you name a biblical story that has a similar plot? Ceyx and Alcyone (pronounced SEE-iks and al-SIGH-un-ee) What kind of journey must Ceyx undertake? Why is Alcyone concerned? Why is Ceyx happy as he dies? How does Juno (Hera) answer Alcyone’s prayers? Who assists Hera? What natural phenomenon is explained through this story? Pygmalion and Galatea (pronounced pig-MALE-yun and gal-uh-TEE-uh) What is Pygmalion’s occupation? How does he feel about women? Which goddess pities Pygmalion? What does she do? How does this story relate to the musical My Fair Lady? Baucis and Philemon (pronounced BAW-sis and fill-EE-mun) PAGE 2 Describe this couple. Which gods play a role in this tale? How? What becomes of the people in the countryside? What is the couple’s only wish? What lesson can be learned from this tale? What objects