2010 Massachusetts Jcl Certamen Advanced Division – Round I
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Summaries of the Trojan Cycle Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc. -
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. -
The Lyre of Thamyris
THE LYRE OF THAMYRIS In Greek mythology, Thamyris (Greek: Θάμυρις, Thámuris), son of Philammon and the nymph Argiope, was a Thracian singer who was so proud of his skill that he boasted he could out sing the Muses. He competed against them and lost - as punishment for his presumption they blinded him, and took away his ability to make poetry and to play the lyre. The outline of the story is told in the Iliad. This piece attempts to evoke the particularly poignant feel of this gem of haunting ancient Greek mythology, in the intense and sorrowful ancient Greek Hypodorian Mode, in the clear focus of musical intervals authentically tuned in geometrically pure just intonation. The Hypordorian mode was misnamed in the Middle Ages, the “Aeolian Mode”. The names of musical modes in use today, (e.g. Dorian, Mixolydian etc.) although having the same names as the original Greek musical modes, were actually misnamed during the Middle Ages! Apparently, the Greeks counted intervals from top to bottom. When medieval ecclesiastical scholars tried to interpret the ancient texts, they counted from bottom to top, jumbling the information. The misnamed medieval modes are only distinguished by the ancient Greek modes of the same name, by being labelled “Church Modes”. It was due to a misinterpretation of the Latin texts of Boethius, that medieval modes were given these wrong Greek names. The original ancient Greek Hypodorian Mode has the equivalent intervals as A- A on the white notes of the piano. This intense and distinctively mournful mode, sometimes referred to as the ‘natural minor’, is actually the basis of all the modern minor scales we now use. -
Wulf: Libretto
WULF: LIBRETTO compiled by Vic Hoyland [Since most of this score uses modern English, it will be acceptable to perform this work using a translation in the country of performance, as well as using segments in the original French, Icelandic, Anglo‐Saxon, Latin, ancient Greek and Scottish Gaelic. Please contact UYMP to discuss any translation of the English text.] Iliad, chapter 18 (of 24): Patroclus, Achilles’ companion, is killed in battle. Achilles’ emotional reaction is extreme. His screams are heard by his mother, Thetis, from the depths of the sea. She calls on her nymphs (Nereids) to come to her son’s aid. “With these the bright cave was filled, and the nymphs all alike, beat their breasts, and Thetis led the lament.” The names of ancient Greek sea nymphs are recalled throughout the work. Part I – WULF 1. Glauke te Thaleia te Kymodoke te Nesaie Speio te Thoe Halia te Kymothoe te kai Actaee kai Limnoreia Kai Melite kai Iera kai Amphithoe kai Agave Doto te Proto te Pherusa Dynamene te Dexamene te Amphinome kai Kallineira Doris kai Panope kai te Galateia Nemertes te kai Apseudes kai Kallinassa Te Klymene Ianeira te kai Ianassa Maera kai Oreithyia te Amatheia.1 5. Protesilaus, Echepolus, Elephenor, Simoisius, Leukos, Democoon, Diores, Pirous, Phegeus, Idaeus, Odios, Phaestus, Scamandrius, Pherecles, Pedaeus, Hypsenor, Astynoos, Hyperion, Abas, Polyidos, Xanthus, Thoon, Echemmnon, Chromius, Pandarus, Deicoon.2 6. Sigmund took his weapons, but Skarphedinn waited the while. Skyolld turned against Grim and Helgʹ, and they fought violently. Sigmund had a helmet on his head and a shield at his side and was girt with a sword, his spear was in his hand; he turns against Skarphedinn, and thrusts at him with his spear, and the thrust struck the shield. -
Round 1 Lower Level
Round 1 Lower Level 1. What two Greeks tried to avoid the Trojan War by deception? Odysseus & Achilles -B1. Who uncovered the pretended madness of Odysseus? Palamedes -B2. Who discovered Achilles disguised as a girl? Odysseus (& Diomedes) 2. Who invaded Italy in 218 BC by crossing the Pyrenees and Alps? Hannibal -B1. Where was his first encounter with Roman troops? Ticinus River -B2. Ticinus river was only a skirmish. Where did Hannibal crush the armies of both the counsuls in December of 218? Trebia 3. You should listen to your parents when they tell you to study with the television off. I however don’t listen very well and had the TV on while I was writing these questions. I found myself watching reality TV instead of working. The first show that was on was ‘Big Brother’. What would the Romans likely have called this show if they could tune in to our broadcast? Magnus Frater -B1. I then flipped to MTV, where a new episode of ‘True Life’ was airing. What would the Romans have called that show? Vita Vera -B2. Bored with that I flipped to VH1 where there was Bret Michaels on his show ‘Rock of Love’. What would the Romans have called that show? Saxum Amoris 4. Translate this sentence into English: Oportet nos multa dona ferre. It is right/proper/necessary for us to bring many gifts. -B1. Translate this sentence into English: Decet senatorem honorare imperatorem. It is proper/fitting for the senate to honor the emperor/general. -B2. Translate this sentence into English: Paenitet me irae. -
Missing Medea
Missing Medea by William Bernard Dow M.A. (Liberal Studies), Simon Fraser University, 2008 B.A., Athabasca University, 2003 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy under Special Arrangements with Dean of Graduate Studies Department of Humanities Faculty of Arts and Social Sciences © William Bernard Dow SIMON FRASER UNIVERSITY Summer 2013 Approval Name: William Bernard Dow Degree: Doctor of Philosophy Title of Thesis: Missing Medea Examining Committee: Chair: Dean of Graduate Studies or designate David Mirhady Senior Supervisor Professor Don Kugler Supervisor Professor School of Contemporary Arts Paul Budra Supervisor Associate Professor Department of English Anne-Marie Feenberg-Dibon Supervisor Associate Professor Anthony Podlecki Internal Examiner Professor Emeritus Classical, Near Eastern, and Religious Studies University of British Columbia Geoff Proehl External Examiner Professor Theatre Arts Department University of Puget Sound Date Defended/Approved: August 19, 2013 ii Partial Copyright Licence iii Abstract The focus of this project is to (re)create a trilogy of plays that bring the unfamiliar and largely forgotten stories of the tragic heroine Medea of Greek mythology to the modern stage. In each case the selection of narrative detail and decisions regarding presentational style are part of the ongoing task of re-visualizing antiquity. The first play, Cupid’s Arrow, focuses on the beginning of Medea’s doomed and tragic love for Jason as it was engineered by the goddess of marriage Hera and it draws from fragments of Sophocles’ play, the Colchides (Women of Colchis). The second, The Daughters of Pelias, is recreated from fragments and the supposed narrative of a play (Peliades now lost) that was in Euripides’ first ever production at the City Dionysia in 455 B.C. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame. -
Death and the Female Body in Homer, Vergil, and Ovid
DEATH AND THE FEMALE BODY IN HOMER, VERGIL, AND OVID Katherine De Boer Simons A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Depart- ment of Classics. Chapel Hill 2016 Approved by: Sharon L. James James J. O’Hara William H. Race Alison Keith Laurel Fulkerson © 2016 Katherine De Boer Simons ALL RIGHTS RESERVED ii ABSTRACT KATHERINE DE BOER SIMONS: Death and the Female Body in Homer, Vergil, and Ovid (Under the direction of Sharon L. James) This study investigates the treatment of women and death in three major epic poems of the classical world: Homer’s Odyssey, Vergil’s Aeneid, and Ovid’s Metamorphoses. I rely on recent work in the areas of embodiment and media studies to consider dead and dying female bodies as representations of a sexual politics that figures women as threatening and even mon- strous. I argue that the Odyssey initiates a program of linking female death to women’s sexual status and social class that is recapitulated and intensified by Vergil. Both the Odyssey and the Aeneid punish transgressive women with suffering in death, but Vergil further spectacularizes violent female deaths, narrating them in “carnographic” detail. The Metamorphoses, on the other hand, subverts the Homeric and Vergilian model of female sexuality to present the female body as endangered rather than dangerous, and threatened rather than threatening. In Ovid’s poem, women are overwhelmingly depicted as brutalized victims regardless of their sexual status, and the female body is consistently represented as bloodied in death and twisted in metamorphosis. -
Collection of Hesiod Homer and Homerica
COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr. -
Aiaa 2005 2771.Pdf (2.617Mb)
1st Space Exploration Conference: Continuing the Voyage of Discovery AIAA 2005-2771 30 January - 1 February 2005, Orlando, Florida Daedalon: A Revolutionary Morphing Spacecraft Design for Planetary Exploration Jarret M. Lafleur*, John R.Olds†, and Robert D. Braun† Georgia Institute of Technology, Atlanta, Georgia 30332 The product of a study sponsored by the NASA Institute for Advanced Concepts (NIAC), Daedalon is a spacecraft design baselined for Mars which utilizes morphing wing technology to achieve the design objective of a standard, flexible architecture for unmanned planetary exploration. This design encompasses a detailed vehicle mass and power sizing study for the Daedalon lander as well as its cruise stage and entry backshell. A cost estimation and comparison study is also performed, and qualitative functionality comparisons are made between Daedalon and other Mars lander and airplane designs. Quantitative comparisons of gross mass and range are also made, including the results of scaling an existing Mars aerial vehicle design to match Daedalon functionality. Altogether, the Daedalon launch mass is found to be 896 kg for a 12 kg payload capacity. If five such vehicles are produced, it is found that the per-mission cost can be as low as $224 million. Given the necessary morphing wing technology development, it is concluded that the Daedalon design may be a feasible and cost-effective approach to planetary exploration 20-40 years in the future. Nomenclature APXS = Alpha Proton X-ray Spectrometer ARES = Aerial Regional-scale Environmental Survey of Mars C3 = Measure of trajectory energy (square of hyperbolic excess velocity) CAD = Computer-Aided Design C&DH = Command and Data Handling GNC = Guidance, Navigation, and Control IMU = Inertial Measurement Unit Isp = Specific Impulse MER = Mars Exploration Rover NIAC = NASA Institute for Advanced Concepts RAT = Rock Abrasion Tool SSDL = Georgia Tech Space Systems Design Lab TES = Thermal Emission Spectrometer UHF = Ultra High Frequency I. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield.