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Iconographical Studies on Nike in 5Th Century BC
Fairfield University DigitalCommons@Fairfield Visual & Performing Arts Faculty Publications Visual & Performing Arts Department 4-2003 Iconographical Studies on Nike in 5th Century B.C.: Investigations of Her Functions and Nature by Cornelia Thöne Katherine Schwab Fairfield University, [email protected] Follow this and additional works at: https://digitalcommons.fairfield.edu/visualandperformingarts- facultypubs Originally appears in American Journal of Archaeology. Copyright 2003 Archaeological Institute of America. Peer Reviewed Repository Citation Schwab, Katherine, "Iconographical Studies on Nike in 5th Century B.C.: Investigations of Her Functions and Nature by Cornelia Thöne" (2003). Visual & Performing Arts Faculty Publications. 4. https://digitalcommons.fairfield.edu/visualandperformingarts-facultypubs/4 Published Citation Schwab, Katherine. 2003. Review of Iconographical Studies on Nike in 5th Century B.C.: Investigations of Her Functions and Nature, by Cornelia Thöne. AJA 107(2):310-311. This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 310 BOOK REVIEWS [AJA 107 In fact, much of the focus of this book is on material chaic period to the end of the fifth century B.C., from a that, for typological or geographical reasons, often re- more restricted and formulaic representation to one with ceives limited attention in handbooks. -
The Victory of Kallimachos Harrison, Evelyn B Greek, Roman and Byzantine Studies; Spring 1971; 12, 1; Proquest Pg
The Victory of Kallimachos Harrison, Evelyn B Greek, Roman and Byzantine Studies; Spring 1971; 12, 1; ProQuest pg. 5 The Victory of Kallimachos Evelyn B. Harrison HE FRAGMENTARY EPIGRAM from the Athenian Acropolis! record Ting a dedication to Athena by Kallimachos of Aphidna and apparently referring to his service at Marathon has been dis cussed and tentatively restored in various ways, but no complete restoration has found general agreement. Meiggs and Lewis, in A Selection of Greek Historical Inscriptions nO.18, print a conservative text, restoring only the first two verses completely and quoting in foot notes the supplements of Shefton and Ed. Fraenkel for the last three verses.2 Raubitschek, in a general discussion of Greek inscriptions as historical documents, also prints a text without the most controver sial restorations.3 Both still accept, however, the restoration which refers to the offering as "messenger of the immortals" and believe that the column on which the inscription was carved supported one of the winged female figures of which several examples have been lIG 12 609. Most recently, R. Meiggs and D. M. Lewis, A Selection of Greek Historical In scriptions (Oxford 1969). Add to their bibliography A. E. Raubitschek, Gymnasium 72 (1965) 512. The long article by B. B. Shefton, BSA 45 (1950) 14D--64, is the most informative about the stone, since it includes photographs and full discussion of difficult letters as well as a great deal of background material. 1 am grateful to Ronald Stroud for making me a good squeeze of the inscription and to Helen Besi for the drawings, unusually difficult to make because of the concave surface in which the letters are engraved. -
From the Odyssey, Part 1: the Adventures of Odysseus
from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall. -
THE OLYMPIAN GODS Student Worksheets
CLIL COURSE MATERIALS CLASSICAL MYTHOLOGY: THE OLYMPIAN GODS Student worksheets Pilar Torres Carmona December 2008 CLASSICAL MYTHOLOGY: THE OLYMPIAN GODS STUDENT WORKDHEETS UNIT 1. MYTH AND MYTHOLOGY What is a myth? A myth is a story about gods and other supernatural beings and how they made or shaped the world and humanity. The events told in these stories happened in a very remote past. Myths are a part of religion, and they give an explanation of the world from a moral point of view; there is an ideology under every myth. Myths are also metaphorical; they do not try to explain the world in a logical or scientific way, but through imagination. However, we can still use myths to understand and explore culture: its viewpoints, activities and beliefs. Who made up Myths are very old stories. They are so old, that we do not know who myths? made them up: they are anonymous. People told these stories over the years and this is why we have many versions of them. Sometimes these stories –or parts of them—were written down and now we can enjoy them. Where does the The word ‗myth’ comes from the ancient Greek word μῦθος ―mythos‖. It word ‗myth‘ means ―word, story‖ and it reveals the oral origin of these stories. come from? ‗Mythology’, from the Greek words μῦθος ―mythos‖ story and λόγος What is ―logos‖ collection or study means both collection of stories/myths and study mythology? of the myths. Why classical Every civilization has its myths. We call classical mythology the body of mythology? myths of ancient Greece and Rome. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
The Phenomenon of Chance in Ancient Greek Thought
THE PHENOMENON OF CHANCE IN ANCIENT GREEK THOUGHT by MELISSA M. SHEW A DISSERTATION Presented to the Department of Philosophy and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Doctor of Philosophy September 2008 11 University of Oregon Graduate School Confirmation of Approval and Acceptance of Dissertation prepared by: Melissa Shew Title: "The Phenomenon of Chance in Ancient Greek Thought" This dissertation has been accepted and approved in partial fulfillment ofthe requirements for the degree in the Department ofPhilosophy by: Peter Warnek, Chairperson, Philosophy John Lysaker, Member, Philosophy Ted Toadvine, Member, Philosophy James Crosswhite, Outside Member, English and Richard Linton, Vice President for Research and Graduate Studies/Dean ofthe Graduate School for the University of Oregon. September 6, 2008 Original approval signatures are on file with the Graduate School and the University of Oregon Libraries. 111 An Abstract of the Dissertation of Melissa M. Shew for the degree of Doctor of Philosophy in the Department of Philosophy to be taken September 2008 Title: THE PHENOMENON OF CHANCE IN ANCIENT GREEK THOUGHT Approved: Dr. Peter Warnek This dissertation engages three facets of Greek philosophy: 1) the phenomenon of tyche (chance, fortune, happening, or luck) in Aristotle's Physics, Nicomachean Ethics, and Poetics; 2) how tyche infonns Socrates' own philosophical practice in the Platonic dialogues; and 3) how engaging tyche in these Greek texts challenges established interpretations of Greek thought in contemporary scholarship and discussion. I argue that the complex status of tyche in Aristotle's texts, when combined with its appearance in the Platonic dialogues and the framework of Greek myth and poetry (poiesis), underscores the seriousness with which the Greeks consider the role of chance in human life. -
Hebe and Liminality in Catullus 68 Don M. Burrows
Hebe and Liminality in Catullus 68 Don M. Burrows (University of Minnesota) Many recent treatments of the Heracles exemplum in Catullus 68B have been offered, pointing out its problematic connection with the rest of the poem and to the poet in particular. Vandiver has shown how Heracles and his funeral pyre make more than one appearance in 68A-B, yet she sees the hero’s death/apotheosis and marriage to Hebe as “bleaker, since in it Heracles serves as a foil” to Laodamia (and also the poet), “whose thwarted passion for her incomplete marriage led to her actual death, not to any apotheosis.”1 Steiner has also turned her attention to the Heracles exemplum and its use in 68B to discuss notions of immortality. Yet again, when talk turns to the marriage of Heracles and Hebe, the subject of focus is the hero’s immortality contrasted with Catullus’ frustrated romance with Lesbia.2 In this paper, I will argue that the focus on Heracles only as a direct comparison with Catullus and the overall themes of 68A and 68B misses a far more applicable comparison: that of the poet with Hebe, whose maidenhood in 68B.116 is on the verge of ending with her pending nuptials. I intend, as others, to connect this mythological exemplum to the wider scope of the poem, most notably the poet’s discussion of his youth at 68A.15-18, where an anaphora seems to connect the reader to the later exemplum. This, coupled with a study of the treatment of Hebe in Archaic and Hellenistic poetry and a reticence among some to accept the account of her marriage to Heracles as legitimate, adds weight to 68B.116 (Hebe nec longa virginitate foret) that is largely overlooked: i.e., a liminality that illuminates themes of youth, death and marriage that punctuate the remainder of the poem. -
Greek Mythology #23: DIONYSUS by Joy Journeay
Western Regional Button Association is pleased to share our educational articles with the button collecting community. This article appeared in the August 2017 WRBA Territorial News. Enjoy! WRBA gladly offers our articles for reprint, as long as credit is given to WRBA as the source, and the author. Please join WRBA! Go to www.WRBA.us Greek Mythology #23: DIONYSUS by Joy Journeay God of: Grape Harvest, Winemaking, Wine, Ritual Madness, Religious Ecstasy, Fertility and Theatre Home: MOUNT OLYMPUS Symbols: Thyrus, grapevine, leopard skin Parents: Zeus and Semele Consorts: Adriane Siblings: Ares, Athena, Apollo, Artemis, Aphrodite, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces Roman Counterpart: Bacchus, Liber Dionysus’ mother was mortal Semele, daughter of a king of Thebes, and his father was Zeus, king of the gods. Dionysus was the only Olympian god to have a mortal parent. He was the god of fertility, wine and the arts. His nature reflected the duality of wine: he gave joy and divine ecstasy, or brutal and blinding rage. He and his followers could not be contained by bonds. One would imagine that being the god of “good times” could be a pretty easy and happy existence. Unfortunately, this just doesn’t happen in the world of Greek mythology. Dionysus is called “twice born.” His mother, Semele, was seduced by a Greek god, but Semele did not know which god was her lover. Fully aware of her husband’s infidelity, the jealous Hera went to Semele in disguise and convinced her to see her god lover in his true form. -
Gallery Walk of Greek Gods & Goddesses
Gallery Walk of Greek Gods & Goddesses What is a myth? • A myth is a kind of a story. • Characteristics include one or more: -About gods or supernatural beings with greater powers and abilities than humans -explain origins and how world came to be -take place a long, long time ago and passed down through time by oral story telling -thought to be true when told by original storytellers What is the purpose of myths? • They can explain how things came to be-origin of universe or the creation of humans. • They teach people the values and beliefs that are important in their society. • They contain deep, religious significance to the people who tell them and believe them. Do myths really matter? • Yes!! Reference to Greek mythology is all around us in our world • Examples: – Ever heard of Nike athletic gear? Nike was a goddess of personification and victory. – What would Valentine’s Day be without Cupid? Cupid, or Eros, is the God of love as the Greeks called him. – Does Apollo 13 ring a bell? The first crewed US space missions were named for Apollo, the god of archery and prophecy. Zeus—Leader of the Olympian Gods • He was the god of the sky and rain. • His weapon of choice was the thunderbolt, made for him by the mythical creatures, the Cyclops. • He married Hera, his sister, which was a family habit. • Hades and Poseidon were his brothers. Hera—Wife of Zeus • She was the protector of marriage and the home. • She was associated with the peacock, because of her great beauty. -
EUKLEIA and EUNOMIA BETWEEN the GODS Two of the Most
CHAPTER SIX ARISTOCRACY OR DEMOCRACY? EUKLEIA AND EUNOMIA BETWEEN THE GODS Two of the most popular personifications in the come late: Ploutarkhos (Aristides 20.5) men- vase paintings made during the Peloponnesian tions she was the child of Herakles and Myrto, War (431-404) are Eukleia and Eunomia , the per- but Euripides notes that Ponos (Labour) was her sonifications of Good Repute and Good Order. father (fr. 474 N2): this aitiology is itself a sort The underlying concepts of eukleia and eunomia of personification . In earlier Greek literature, are closely related in meaning, so it is not sur- eukleia , ἡ εὔκλεια, refers to the glory and fame prising that they appear together on no less than that results from military victories (Homeros, nine Meidian vases (Borg, 2005, and 2002: 190- Ilias 8.285 and Odysseia 14.402). Eukleia’s mean- 208). Were they even worshipped together? Pau- ing as the good reputation of private individuals sanias (1.15.4) records that a temple to Eukleia becomes more prominent in the literature of the was erected on the edge of the Athenian Agora as second half of the fifth century, and is particu- a thank-offering for the victory over the Persians larly prominent in the works of Euripides (for who landed at Marathon (490). The evidence for eukleia in Hippolytos see Braund, 1980: 84-85). Eukleia’s presence at Athens is otherwise slim: She is personified in Classical Athenian literature Harrison’s attempt to identify the Hephaisteion to the degree that she owns, holds, or bestows a as the Temple of Eukleia (Harrison, 1977a: 139 wreath or crown, as in Sophokles ’ Aias (462-465), n. -
Greek Mythology
Greek mythology Mythical characters Gods and goddesses Zeus is the king of the gods, ruler of Mount Olympus and god of the sky. His name means ‘bright’ or ‘sky’. His royal animals are the eagle and bull. Zeus’s favourite weapon is a lightning bolt made for him by the Cyclops. Zeus can be a greedy and dishonest god. If he desires something, he is unlikely to let anything stop him from gaining it. Because of this, he often lies about his behaviour to Hera, his wife. Hera is the queen of the gods and wife of Zeus. She is the goddess of women, marriage, childbirth, heirs, kings and empires. She often carries a lotus- tipped staff. Hera never forgets an insult or injury and can be cruel or vengeful. Poseidon is the god of rivers, seas, floods, droughts and earthquakes. Brother to Zeus, he is the king of the sea and protector of all waters. Poseidon carries a trident: a spear with three points. His sacred animals are the dolphin and the horse. Athena is the goddess of wisdom, intelligence, skill, peace and warfare. According to legend, she was born out of Zeus’s forehead fully formed and fully armoured. She looks over heroes such as Odysseus and Hercules. Athena is often accompanied by a sacred owl. Her symbol is the olive tree. KS2 | Page 1 copyright 2019 Greek mythology Gods and goddesses Aphrodite is the goddess of love and beauty, who can cause gods or mortals to fall in love with whomever she chooses. Aphrodite’s sacred animals include doves and sparrows. -
Cyclopes and Giants: from Homer's Odyssey to Contemporary Genetic Diagnosis
HORMONES 2016, 15(3):459-463 Historical Note Cyclopes and Giants: From Homer’s Odyssey to contemporary genetic diagnosis Georgios K. Markantes,1 Anastasia Theodoropoulou,1 Anastasia K. Armeni,1 Vasiliki Vasileiou,2 Constantine A. Stratakis,3 Neoklis A. Georgopoulos1 1Division of Reproductive Endocrinology, Department of Obstetrics and Gynecology, University of Patras Medical School, Patras; 21st Department of Endocrinology, Diabetes Centre, “Alexandra” Hospital, Athens; Greece; 3Section on Endocrinology and Genetics, Eunice Kennedy Shriver National Institute of Child Health and Human Development, National Institutes of Health, Bethesda, USA GIANTS AND CYCLOPES adventures in the land of the Cyclops: Odysseus and his men were eventually captured by one of them, Giant is a term used to describe a legendary hu- Polyphemus, son of Poseidon. Polyphemus, who was manlike being of great stature and strength. In Greek a cannibal, devoured several of Odysseus’ men. In mythology, the giants Cyclopes rebelled against the order to escape, they blinded Polyphemus by means Olympian Gods in a battle that ended in their final of a huge pole with a burning tip after getting him defeat, this resulting in Olympian sovereignty on drunk with sweet wine offered to him by Odysseus earth. They initially appeared in Hesiod’s Theogony himself. What is particularly interesting in Homer’s as children of Gaia (Earth) and Uranus (Sky) and were narration of the scene is that he—a master of detailed described as powerful, savage and fearless beings with descriptions—does not at any point specifically state a single circular eye in the middle of their forehead.1 that Polyphemus had one single eye.