Athens: Its Rise and Fall 1 Athens: Its Rise and Fall
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Index Note: page numbers in italics denote tables, maps, or illustrations Abdera 74 Cleomenes 237 ; coins 159, 276 , Abu Simbel 297 277, 279 ; food production 121, 268, Abydos 286 272 ; imports 268 ; Kleoitas 109 ; Achaea/Achaeans: Aigialos 213 ; Naucratis 269–271 ; pottery 191 ; basileus 128, 129, 134 ; Sparta 285 ; trade 268, 272 colonization 100, 104, 105, 107–108, Aegium 88, 91, 108 115, 121 ; democracy 204 ; Aelian 4, 186, 188 dialect 44 ; ethnos 91 ; Aeneas 109, 129 Herodotus 91 ; heroes 73, 108 ; Aeolians 45 , 96–97, 122, 292, 307 ; Homer 52, 172, 197, 215 ; dialect group 44, 45, 46 Ionians 50 ; migration 44, 45 , 50, Aeschines 86, 91, 313, 314–315 96 ; pottery 119 ; as province 68 ; Aeschylus: Persians 287, 308 ; Seven relocation 48 ; warrior tombs 49 Against Thebes 162 ; Suppliant Achilles 128, 129, 132, 137, 172, 181, Maidens 204 216 ; shield of 24, 73, 76, 138–139 Aetolia/Aetolians 20 ; dialect 299 ; Acrae 38 , 103, 110 Erxadieis 285 ; ethnos 91, 92 ; Acraephnium 279 poleis 93 ; pottery 50 ; West Acragas 38 , 47 ; democracy 204 ; Locris 20 foundation COPYRIGHTED 104, 197 ; Phalaris 144 ; Aëtos MATERIAL 62 Theron 149, 289 ; tyranny 150 Africanus, Sextus Julius 31 Adrastus 162 Agamemnon: Aeolians 97 ; anax 129 ; Aegimius 50, 51 Argos 182 ; armor 173 ; Aegina 3 ; Argos 3, 5 ; Athens 183, basileus 128, 129 ; scepter 133 ; 286, 287 ; captured 155 ; Schliemann 41 ; Thersites 206 A History of the Archaic Greek World: ca. 1200–479 BCE, Second Edition. Jonathan M. Hall. © 2014 John Wiley & Sons, Inc. Published 2014 by John Wiley & Sons, -
The Apotheosis of He#Rakle#S on Olympus and the Mythological Origins of the Olympics
The apotheosis of He#rakle#s on Olympus and the mythological origins of the Olympics The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2019.07.12. "The apotheosis of He#rakle#s on Olympus and the mythological origins of the Olympics." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/the-apotheosis-of- herakles-on-olympus-and-the-mythological-origins-of-the- olympics/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41364811 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. -
Minting America: Coinage and the Contestation of American Identity, 1775-1800
ABSTRACT MINTING AMERICA: COINAGE AND THE CONTESTATION OF AMERICAN IDENTITY, 1775-1800 by James Patrick Ambuske “Minting America” investigates the ideological and culture links between American identity and national coinage in the wake of the American Revolution. In the Confederation period and in the Early Republic, Americans contested the creation of a national mint to produce coins. The catastrophic failure of the paper money issued by the Continental Congress during the War for Independence inspired an ideological debate in which Americans considered the broader implications of a national coinage. More than a means to conduct commerce, many citizens of the new nation saw coins as tangible representations of sovereignty and as a mechanism to convey the principles of the Revolution to future generations. They contested the physical symbolism as well as the rhetorical iconology of these early national coins. Debating the stories that coinage told helped Americans in this period shape the contours of a national identity. MINTING AMERICA: COINAGE AND THE CONTESTATION OF AMERICAN IDENTITY, 1775-1800 A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of History by James Patrick Ambuske Miami University Oxford, Ohio 2006 Advisor______________________ Andrew Cayton Reader_______________________ Carla Pestana Reader_______________________ Daniel Cobb Table of Contents Introduction: Coining Stories………………………………………....1 Chapter 1: “Ever to turn brown paper -
Annotated Edition
ElizabethanDrama.org presents the Annotated Popular Edition of THE PICTURE A TRUE HUNGARIAN HISTORY by Philip Massinger Performed 1629 First Published 1630 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2019. This annotated play may be freely copied and distributed. 1 THE PICTURE A True Hungarian History By Philip Massinger Performed 1629 First Published 1630 A Tragecomedie, As it was often presented with good allowance, at the Globe, and Blacke Friers Play-houses, by the Kings Maiesties Servants. DRAMATIS PERSONAE. INTRODUCTION TO THE PLAY The Hungarian Court: The Picture, by Philip Massinger, is a highly entertaining drama-comedy which explores what happens to people who Ladislaus, king of Hungary. are unable or unwilling to control their feelings and Honoria, the queen. affections: unchecked suspicion, embarrassingly Acanthe, maid of honour. unrestrained adoration, and even immoderate lust, all will Sylvia, maid of honour. be repaid. The Picture is likely the only Elizabethan play Ferdinand, general of the army. to take place in Hungary's ancient royal capital, Alba Eubulus, an old counsellor. Regalis, modern Székesfehérvár. Ubaldo, a wild courtier. Ricardo, a wild courtier. NOTES ON THE TEXT Bohemian Characters: The text of The Picture is adopted from Gifford's edition of our play, cited at #16 below, but with some Mathias, a knight of Bohemia. of the 1630 quarto's original spellings restored. Sophia, wife to Mathias. Hilario, servant to Sophia. NOTES ON THE ANNOTATIONS Corisca, Sophia's woman. Julio Baptista, a great scholar. References in the annotations to Gifford refer to the notes supplied by editor W. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
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. , -
From Femme Ideale to Femme Fatale: Contexts for the Exotic Archetype In
From Femme Idéale to Femme Fatale: Contexts for the Exotic Archetype in Nineteenth-Century French Opera A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Jessica H. Grimmer BM, University of Cincinnati June 2011 Committee chair: Jonathan Kregor, PhD i ABSTRACT Chromatically meandering, even teasing, Carmen’s Seguidilla proves fatally seductive for Don José, luring him to an obsession that overrides his expected decorum. Equally alluring, Dalila contrives to strip Samson of his powers and the Israelites of their prized warrior. However, while exotic femmes fatales plotting ruination of gentrified patriarchal society populated the nineteenth-century French opera stages, they contrast sharply with an eighteenth-century model populated by merciful exotic male rulers overseeing wandering Western females and their estranged lovers. Disparities between these eighteenth and nineteenth-century archetypes, most notably in treatment and expectation of the exotic and the female, appear particularly striking given the chronological proximity within French operatic tradition. Indeed, current literature depicts these models as mutually exclusive. Yet when conceptualized as a single tradition, it is a socio-political—rather than aesthetic—revolution that provides the basis for this drastic shift from femme idéale to femme fatale. To achieve this end, this thesis contains detailed analyses of operatic librettos and music of operas representative of the eighteenth-century French exotic archetype: Arlequin Sultan Favorite (1721), Le Turc généreux, an entrée in Les Indes Galantes (1735), La Recontre imprévue/Die Pilgrime von Mekka (1764), and Die Entführung aus dem Serail (1782). -
The Hercules Story Pdf, Epub, Ebook
THE HERCULES STORY PDF, EPUB, EBOOK Martin W. Bowman | 128 pages | 01 Aug 2009 | The History Press Ltd | 9780752450810 | English | Stroud, United Kingdom The Hercules Story PDF Book More From the Los Angeles Times. The god Apollo. Then she tried to kill the baby by sending snakes into his crib. Hercules was incredibly strong, even as a baby! When the tasks were completed, Apollo said, Hercules would become immortal. Deianira had a magic balm which a centaur had given to her. July 23, Hercules was able to drive the fearful boar into snow where he captured the boar in a net and brought the boar to Eurystheus. Greek Nyx: The Goddess of the Night. Eurystheus ordered Hercules to bring him the wild boar from the mountain of Erymanthos. Like many Greek gods, Poseidon was worshiped under many names that give insight into his importance Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Athena observed Heracles shrewdness and bravery and thus became an ally for life. The name Herakles means "glorious gift of Hera" in Greek, and that got Hera angrier still. Feb 14, Alexandra Dantzer. History at Home. Hercules was born a demi-god. On Wednesday afternoon, Sorbo retweeted a photo of some of the people who swarmed the U. Hercules could barely hear her, her whisper was that soft, yet somehow, and just as the Oracle had predicted to herself, Hera's spies discovered what the Oracle had told him. As he grew and his strength increased, Hera was evermore furious. -
The Greek Heroes
Conditions and Terms of Use Copyright © Heritage History 2009 PREFACE Some rights reserved My Dear Children, This text was produced and distributed by Heritage History, an organization dedicated to the preservation of classical juvenile history books, and to the Some of you have already heard of the old Greeks; and promotion of the works of traditional history authors. all of you, as you grow up, will hear more and more of them. The books which Heritage History republishes are in the public domain and Those of you who are boys will, perhaps, spend a great deal of are no longer protected by the original copyright. They may therefore be reproduced time in reading Greek books; and the girls, though they may not within the United States without paying a royalty to the author. learn Greek, will be sure to come across a great many stories taken from Greek history, and to see, I may say every day, things The text and pictures used to produce this version of the work, however, are which we should not have had if it had not been for these old the property of Heritage History and are licensed to individual users with some restrictions. These restrictions are imposed for the purpose of protecting the integrity Greeks. You can hardly find a well-written book which has not of the work itself, for preventing plagiarism, and for helping to assure that in it Greek names, and words, and proverbs; you cannot walk compromised or incomplete versions of the work are not widely disseminated. through a great town without passing Greek buildings; you cannot go into a well-furnished room without seeing Greek In order to preserve information regarding the origin of this text, a copyright statues and ornaments, even Greek patterns of furniture and by the author, and a Heritage History distribution date are included at the foot of every page of text. -
Examples of Love
EXAMPLES OF LOVE HARMODIUS AND ARISTOGEITON Dr. D’s note: The story of Harmodius and Aristogeiton is perhaps the most famous example in Athenian history of the intensity and commitment of male lovers; Aristogeiton was the adult, and Harmodius the young man. They killed the brother of the tyrant Hippias, and began a revolution, although apparently from personal rather than political reasons. But their story, preserved over time, came to emphasize their role as leaders of a rebellion rather than their personal reasons for undertaking it. A statue of them (representing not a portrait, but an idealized depiction of the adult/young man heroic bond) was dedicated at Athens shortly afterwards, and after it was taken as war spoils by Persians, a replacement (which still survives in Roman copies) was dedicated in 477/6 BCE . The story is told in several versions. THUCYDIDES The classic narrative: 54. Indeed, the daring action of Aristogiton and Harmodius was undertaken in consequence of a love affair, which I shall relate at some length, to show that the Athenians are not more accurate than the rest of the world in their accounts of their own tyrants and of the facts of their own history. [2] Pisistratus dying at an advanced age in possession of the tyranny, was succeeded by his eldest son, Hippias, and not Hipparchus, as is vulgarly believed. Harmodius was then in the flower of youthful beauty, and Aristogiton, a citizen in the middle rank of life, was his lover and possessed him. [3] Solicited without success by Hipparchus, son of Pisistratus, Harmodius told Aristogiton, and the enraged lover, afraid that the powerful Hipparchus might take Harmodius by force, immediately formed a design, such as his condition in life permitted, for overthrowing the tyranny. -
Ten Thousand Eyes: the Story of Ἄργος Μυριωπός Alexander Nikolaev
Ten Thousand Eyes: The Story of Ἄργος Μυριωπός Alexander Nikolaev HE MYTH OF ARGUS was well known in antiquity, to judge from sixth- and fifth-century literature and art. Its T basic constituents are as follows: when Io was turned into a heifer by Zeus, the titan Argus was appointed by Hera as her guard, and while on this duty he was killed by Hermes.1 The most conspicuous and unusual feature of Argus is the number of his eyes, which in different sources ranges between three and several thousand. The purpose of this paper is to make a new suggestion regarding the origin of the motif of the myriad-eyed cowherd. 1. Let us remind ourselves of the relevant sources. In Aesch. Supp. the story of Io is treated in the stichomythia between the chorus of Danaids and Pelasgus, the king of Argos; Io’s guard is mentioned at 303–305, described as πανόπτης οἰοβουκόλος, “all-seeing cowherd of one [heifer].”2 A somewhat more de- tailed description is in [Aesch.] PV: in her monody Io calls Argus a “myriad-eyed cowherd” (568, µυριωπὸν … βούταν) and later an “earth-born herdsman, staring with his many eyes” (677–679, βουκόλος δὲ γηγενής … πυκνοῖς ὄσσοις δεδορκώς). Bacchylides, too, was familiar with the myth: in his poem about Io (19.19–25) he describes Argus as “looking every way with tireless eyes” (ὄµµασι βλέποντα πάντοθεν ἀκαµάτοις) 1 For variants of the myth of Io see L. G. Mitchell, “Euboean Io,” CQ 51 (2001) 339–352; a characteristically useful overview is provided by T. -
The Heroes PREFACE MY DEAR CHILDREN
The Heroes PREFACE MY DEAR CHILDREN, Some of you have heard already of the old Greeks; and all of you, as you grow up, will hear more and more of them. Those of you who are boys will, perhaps, spend a great deal of time in reading Greek books; and the girls, though they may not learn Greek, will be sure to come across a great many stories taken from Greek history, and to see, I may say every day, things which we should not have had if it had not been for these old Greeks. You can hardly find a well-written book which has not in it Greek names, and words, and proverbs; you cannot walk through a great town without passing Greek buildings; you cannot go into a well-furnished room without seeing Greek statues and ornaments, even Greek patterns of furniture and paper; so strangely have these old Greeks left their mark behind them upon this modern world in which we now live. And as you grow up, and read more and more, you will find that we owe to these old Greeks the beginners of all our mathematics and geometry - that is, the science and knowledge of numbers, and of the shapes of things, and of the forces which make things move and stand at rest; and the beginnings of our geography and astronomy; and of our laws, and freedom, and politics - that is, the science of how to rule a country, and make it peaceful and strong. And we owe to them, too, the beginning of our logic - that is, the study of words and of reasoning; and of our metaphysics - that is, the study of our own thoughts and souls.