What Is a Non-Chronological Report?
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Naming the Extrasolar Planets
Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named. -
Tensions in the Greek Symposium Julia Burns Submitted in Fulfillment
Conflicting Desires and Unstable Identities: Tensions in the Greek Symposium Julia Burns Submitted in Fulfillment of the Prerequisite for Honors in Classical Studies May 2013 ©2013 Julia Burns I. Introduction The Greek symposium, or private drinking party, was a formal context for the consumption of wine, often accompanied by the enactment of ritual activities or other associated forms of entertainment.1 The tradition of symposia seems to have evolved from group feasts in the Archaic period and from the traditional gathering of hetaireiai in the late Archaic period.2 Generally, men would congregate in the andron of a private home and recline on kline for a night of drinking, singing or poetry composition, discussion, or other games.3 While meals that shared aspects of the Archaic symposium were held in public spaces in Athens by the fifth century, symposia remained the preserve of the elites: the aristocracy had a monopoly on sympotic symbolic capital, despite any popularizing elements of polis-wide feasting.4 The term “symposium” is often used synecdochically for the series of ritual activities that takes place over the course of a single gathering; however, it more accurately relates to the time when wine was consumed during a private party. If food was prepared before the drinking began, this meal, the deipnon, was a distinct and separate ritual element of the party.5 After the consumption of food, a hymn was sung in honor of the gods and libations were poured. At this point, the master of ceremonies, called the symposiarch, would decide the proper ratio at which 1 I would like to thank Kate Gilhuly for her support and invaluable comments on drafts of this paper. -
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. -
Fact Sheet 2021 Revision #1.00 07/09/2020
2021 Fact Sheet 2021 Revision #1.00 07/09/2020 Changes in working times and services may take place. This is not the final revision! Thank you for your cooperation. www.AlmyrosBeach.com – Season 2021 Contents Welcome ........................................................................................................................................................................................... 2 Representatives Contact Information ............................................................................................................................................. 2 Hotel General Information ............................................................................................................................................................. 2 Included Services ........................................................................................................................................................................... 2 Payable Services ............................................................................................................................................................................. 2 Payable Services – Pricelist ............................................................................................................................................................. 3 ROOMS .............................................................................................................................................................................................. 4 HOTEL LAYOUT ................................................................................................................................................................................. -
Disentangling Hypnos from His Poppies
EDITORIAL VIEWS Anesthesiology 2010; 113:271–2 Copyright © 2010, the American Society of Anesthesiologists, Inc. Lippincott Williams & Wilkins Disentangling Hypnos from His Poppies SUALLY a combination of opioid and hypnotic drugs theory, the CI can be interpreted as an indicator of the in- Uare used to achieve a state of balanced general anesthe- tensity of sub-cortical input. They found that increasing con- sia in the surgical patient. As evidenced by the great variation centrations of remifentanil caused a profound decrease in Downloaded from http://pubs.asahq.org/anesthesiology/article-pdf/113/2/271/251266/0000542-201008000-00006.pdf by guest on 02 October 2021 in practice, a fundamental but unanswered question is “How this parameter that was most marked in the presence of high much opioid should be given intraoperatively?” In Greek propofol concentrations. The CI index correlates well with mythology, Hypnos was the god of sleep. He lived on the the absolute amplitude of the electroencephalograph. The island of Lemnos in a dark cave surrounded by poppies. One propofol-induced increase in electroencephalographic am- of his sons was Morpheus, who gave form to the dreams of plitude is, therefore, suppressed by the concomitant adminis- kings and heroes. The article by Liley et al.1 in this issue of tration of remifentanil. In this respect, the CI index is markedly ANESTHESIOLOGY proposes an electroencephalographic index different from almost all the other electroencephalographic of opioid effect. Perhaps, this study has given us a tool to monitors in common use (such as the bispectral index and var- dissect out the influence of the poppies on Hypnos? ious entropies), the algorithms of which are designed to ignore Previous work on the electroencephalographic effects of the information contained in absolute amplitude of the electro- opioids is somewhat contradictory. -
The Common Wine Cult of Christ and the Orphic Dionysos: the Wine and Vegetation Saviour Deity Dionysos As Model for the Dying and Rising Christ
REL 4990, MA thesis. Culture and Ideas, History of Religion. Autumn 2010. Maritha E. Gebhardt. Page: 1 The common wine cult of Christ and the Orphic Dionysos: the wine and vegetation saviour deity Dionysos as model for the dying and rising Christ. MA Thesis, Master's Programme in Culture and Ideas, History of Religion, Department of Culture and Oriental Languages, Autumn 2010, by Maritha Elin Gebhardt. Synopsis: In 2005 the Hebrew University Excavation Project unearthed a small incense burner from the fourth century C.E. in the Jewish capital of the Galilee, Sepphoris, depicting a crucified figure, Bacchic satyrs and maenads, and the Christian representation of the sacrifice of Isaac in symbolic form as a ram caught in the thicket of a bush. Five years later the book Orphism and Christianity in Late Antiquity, by Herrero de Jáuregui, refers to two large funerary cloths, one depicts a Dionysiac scene similar to the murals from the Villa dei Misteri and the other one show scenes from the life of Jesus and Mary, both found in the same tomb in Egypt. Both of these depictions testify to the continued syncretism of the Orphic and the Christian symbols and that people in the Hellenistic era found the figure of Christ similar to the Bacchic Orpheus. In my thesis I claim that the dying and rising saviour deity of Dionysos is the forerunner to the dying and rising saviour deity of Christ. I claim that I will prove this by showing that the cult of Christ is a wine cult. The epiphany of Jesus was as a human guest at a party, turning water into wine at the wedding-feast at Cana in John 2:1-11, likewise the epiphany of the wine-god Dionysos is in a similar scene as the Cana-miracle, where he turns water into wine (Achilleus Tatius' De Leucippes et Clitophontis amoribus 2.2:1-2.3:1). -
The Intertextual Dynamics of Colluthus' Abduction of Helen
The Intertextual Dynamics of Colluthus’ Abduction of Helen by Geoffrey Harmsworth A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Arts in Classical Studies Waterloo, Ontario, Canada, 2018 © Geoffrey Harmsworth 2018 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any re- quired final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This thesis is devoted to an intertextual study of Colluthus’ late antique epyllion, the Abduction of Helen. Colluthus is a poet whose reputation has long suffered, but is currently under rehabilitation, and the aim of this study is to build on recent scholarship in order to develop a fuller appreciation of Colluthus’ multi- faceted engagement with literary traditions and his allusive technique. Chapters are devoted to linguistic allusion, the intertextuality of genre, and the thematic intertextuality of the abduction narrative. In each chapter, a different approach to allusion and intertextuality reveals a pervasive pattern in Colluthus’ allusive poetics. Colluthus, it will be shown, was a poet who delighted in irony, but it is an irony which is almost always dependent on its relationships to model texts, generic traditions, and thematic motifs. Through the various allusive devices studied here, we find that the poet frequently creates expectations in the learned reader for the directions his narrative will take, only to deny them: he builds a pastoral world through generic parallels, only to leave it behind; he frequently alludes to the motifs and stories of abduction in classical literature, only to frame the “abduction” of Helen as a mutual romantic encounter. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
2012 Njcl Certamen Advanced Division Round One
2012 NJCL CERTAMEN ADVANCED DIVISION ROUND ONE 1. Say in Latin, “Marcus is younger than I.” MĀRCUS EST MINOR NĀTŪ / IUNIOR MĒ / QUAM EGO B1: Now say in Latin: But Cicero is much older than me. SED CICERŌ EST MULTŌ MAIOR NĀTŪ / SENIOR MĒ / QUAM EGO B2: What use of the ablative case is illustrated in the phrase minor nātū, meaning “younger”? RESPECT / SPECIFICATION 2. At what battle in 225 BC did the Romans first by javelin and then by sword finally vanquish the advancing Gauls? TELAMON B1: After the victory at Telamon, the Romans decided to counter-invade northern Italy. What general, a plebeian and novus homō, first successfully defeated the Insubrēs in 223 BC? (GAIUS) FLAMINIUS B2: What Insubrian chieftain did Marcus Claudius Marcellus slay in 222 BC, thus earning the spolia opīma? VIRIDOMARUS 3. Which of the Muses is sometimes said to have been the mother of the Trojan ally Rhesus and is generally agreed to have been the mother of both Linus and Orpheus? CALLIOPE B1: Two of the muses are said to have been the mother of the Sirens by the river god Achelous. Name either one. MELPOMENE / TERPSICHORE B2: Which Muse, whom Tacitus might have invoked, was forced by Aphrodite to fall in love with a mortal, with whom she had a son named Hyacinth? CL(E)IO 4. What Latin author, in addition to being a statesman, was Rome’s first prose writer? (MARCUS PORCIUS) CATO THE ELDER B1: What is the Latin title of Cato’s only extant prose treatise? DĒ AGRĪ CULTŪRĀ / DĒ RĒ RUSTICĀ B2: What Greek historian did Cato have released after he was captured by the Romans? POLYBIUS 5. -
PERSEPHONE a Musical Allegory for the Stage by David Hoffman
PERSEPHONE A Musical Allegory for the Stage By David Hoffman In Concert Performance www.PersephoneOnStage.com July 21, 2010 The Great Room The Alliance of Resident Theaters South Oxford Space This particular story was so important to all of those ancient Greek and Roman dumbbells of whom Ms. Wafers was so dismissive, that they made it the centerpiece, the very gospel, of their most important religious ceremonies – the Mysteries of Demeter at Eleusis – which were held outside of Athens for at least 2,000 years. The initiates at these ceremonies, who included every important classical philosopher, artist, and playwright, and every Roman Emperor until the rise of Christianity, were taught this story, and used it to guide them to a secret truth that they thought to be crucial to their successful entry into the afterlife. What, exactly, this secret was has remained secret (a fact that, itself, is remarkable considering the prolific literary output of those 2,000 years of initiates), but there are layers of importance, and of metaphor in the story that we can find without too much digging. One comes when we analyze Persephone’s motivations: why does she eat the damned pomegranate (literally, the pomegranate of the damned) in the first place? All the retellings of this story suggest that it is that conscious decision, not her initial abduction, that ties her forever to the world of the dead. She chooses to be there, for at least part of the year – to be the wife of this awful god who has abducted her. His approach was god-awful, for sure, but he is the second most powerful person in the universe, and he sees her not as a little girl but as his queen. -
A God Why Is Hermes Hungry?1
CHAPTER FOUR A GOD WHY IS HERMES HUNGRY?1 Ἀλλὰ ξύνοικον, πρὸς θεῶν, δέξασθέ με. (But by the gods, accept me as house-mate) Ar. Plut 1147 1. Hungry Hermes and Greedy Interpreters In the evening of the first day of his life baby Hermes felt hungry, or, more precisely, as the Homeric Hymn to Hermes in which the god’s earliest exploits are recorded, says, “he was hankering after flesh” (κρειῶν ἐρατίζων, 64). This expression reveals only the first of a long series of riddles that will haunt the interpreter on his slippery journey through the hymn. After all, craving for flesh carries overtly negative connotations.2 In the Homeric idiom, for instance, the expression is exclusively used as a predicate of unpleasant lions.3 Nor does it 1 This chapter had been completed and was in the course of preparation for the press when I first set eyes on the important and innovative study of theHymn to Hermes by D. Jaillard, Configurations d’Hermès. Une “théogonie hermaïque”(Kernos Suppl. 17, Liège 2007). Despite many points of agreement, both the objectives and the results of my study widely diverge from those of Jaillard. The basic difference between our views on the sacrificial scene in the Hymn (which regards only a section of my present chapter on Hermes) is that in the view of Jaillard Hermes is a god “who sac- rifices as a god” (“un dieu qui sacrifie en tant que dieu,” p. 161; “Le dieu n’est donc, à aucun moment de l’Hymne, réellement assimilable à un sacrificateur humain,” p. -
Poets and Poetics in Greek Literary Epigram
Poets and Poetics in Greek Literary Epigram A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics by Charles S. Campbell B.A. Grinnell College M.A. University of Cincinnati November, 2013 Committee Chair: Dr. Kathryn J. Gutzwiller, Ph.D. 1 Abstract This dissertation offers a new analysis of the treatment of poets and poetics in Greek literary epigram from the early Hellenistic Period (3rd century BCE) down to the early Roman Imperial Period (1st century CE). In their authorial self-representations (the poetic ego or literary persona), their representation of other poets, and their thematization of poetry more generally, literary epigrammatists define, and successively redefine, the genre of epigram itself against the background of the literary tradition. This process of generic self-definition begins with the earliest literary epigrammatists’ fusion of inscriptional epigram with elements drawn from other genres, sympotic and erotic poetry and heroic epic, and their exploitation of the formal and conceptual repertoire of epigram to thematize poetic discourse. With the consolidation of the epigrammatic tradition in the 2nd and 1st centuries BCE, the distinctively epigrammatic poetic discourse that had evolved in the 3rd century BCE was subsumed into the persona of the poet himself, who is now figured as the very embodiment of the epigrammatic tradition and genre. In the first century BCE, as epigram was transplanted from Greece to the new cultural context of Roman Italy, the figure of the epigrammatist served to articulate the place of both poetry and the poet in this new world.