GREEK RELIGION Walter Burkert
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ancient Religions: Public Worship of the Greeks and Romans by E.M
Ancient Religions: Public worship of the Greeks and Romans By E.M. Berens, adapted by Newsela staff on 10.07.16 Word Count 1,250 Level 1190L TOP: The temple and oracle of Apollo, called the Didymaion in Didyma, an ancient Greek sanctuary on the coast of Ionia (now Turkey), Wikimedia Commons. MIDDLE: The copper statue of Zeus of Artemision in the National Archaeological Museum, Athens, Greece. BOTTOM: Engraving shows the Oracle of Delphi, bathed in shaft of light atop a pedestal and surrounded by cloaked figures, Delphi, Greece. Getty Images. Temples Long ago, the Greeks had no shrines or sanctuaries for public worship. They performed their devotions beneath the vast and boundless canopy of heaven, in the great temple of nature itself. Believing that their gods lived above in the clouds, worshippers naturally searched for the highest available points to place themselves in the closest communion possible with their gods. Therefore, the summits of high mountains were selected for devotional purposes. The inconvenience of worshipping outdoors gradually suggested the idea of building temples that would offer shelter from bad weather. These first temples were of the most simple form, without decoration. As the Greeks became a wealthy and powerful people, temples were built and adorned with great splendor and magnificence. So massively were they constructed that some of them have withstood the ravages of This article is available at 5 reading levels at https://newsela.com. time. The city of Athens especially contains numerous remains of these buildings of antiquity. These ruins are most valuable since they are sufficiently complete to enable archaeologists to study the plan and character of the original structures. -
The Dawn in Erewhon"
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences December 2007 Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Patrick Dillon [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Recommended Citation Dillon, Patrick, "Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon"" 10 December 2007. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/23. Revised version, posted 10 December 2007. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/23 For more information, please contact [email protected]. Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Abstract In "The Dawn in Erewhon", the concluding novella of Tatlin!, Guy Davenport explores the myth of Orpheus in the context of two storylines: Adriaan van Hovendaal, a thinly veiled version of Ludwig Wittgenstein, and an updated retelling of Samuel Butler's utopian novel Erewhon. Davenport tells the story in a disjunctive style and uses the Orpheus myth as a symbol to refer to a creative sensibility that has been lost in modern technological civilization but is recoverable through art. Keywords Charles Bernstein, Bernstein, Charles, English, Guy Davenport, Davenport, Orpheus, Tatlin, Dawn in Erewhon, Erewhon, ludite, luditism Comments Revised version, posted 10 December 2007. This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/23 Dimensions of Erewhon The Modern Orpheus in Guy Davenport’s “The Dawn in Erewhon” Patrick Dillon Introduction: The Assemblage Style Although Tatlin! is Guy Davenport’s first collection of fiction, it is the work of a fully mature artist. -
Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article. -
Herakles Iconography on Tyrrhenian Amphorae
HERAKLES ICONOGRAPHY ON TYRRHENIAN AMPHORAE _____________________________________________ A Thesis presented to the Faculty of the Graduate School University of Missouri-Columbia _____________________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts ______________________________________________ by MEGAN LYNNE THOMSEN Dr. Susan Langdon, Thesis Supervisor DECEMBER 2005 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Susan Langdon, and the other members of my committee, Dr. Marcus Rautman and Dr. David Schenker, for their help during this process. Also, thanks must be given to my family and friends who were a constant support and listening ear this past year. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………ii LIST OF ILLUSTRATIONS……………………………………………………………..v Chapter 1. TYRRHENIAN AMPHORAE—A BRIEF STUDY…..……………………....1 Early Studies Characteristics of Decoration on Tyrrhenian Amphorae Attribution Studies: Identifying Painters and Workshops Market Considerations Recent Scholarship The Present Study 2. HERAKLES ON TYRRHENIAN AMPHORAE………………………….…30 Herakles in Vase-Painting Herakles and the Amazons Herakles, Nessos and Deianeira Other Myths of Herakles Etruscan Imitators and Contemporary Vase-Painting 3. HERAKLES AND THE FUNERARY CONTEXT………………………..…48 Herakles in Etruria Etruscan Concepts of Death and the Underworld Etruscan Funerary Banquets and Games 4. CONCLUSION………………………………………………………………..67 iii APPENDIX: Herakles Myths on Tyrrhenian Amphorae……………………………...…72 BIBLIOGRAPHY………………………………………………………………………..77 ILLUSTRATIONS………………………………………………………………………82 iv LIST OF ILLUSTRATIONS Figure Page 1. Tyrrhenian Amphora by Guglielmi Painter. Bloomington, IUAM 73.6. Herakles fights Nessos (Side A), Four youths on horseback (Side B). Photos taken by Megan Thomsen 82 2. Tyrrhenian Amphora (Beazley #310039) by Fallow Deer Painter. Munich, Antikensammlungen 1428. Photo CVA, MUNICH, MUSEUM ANTIKER KLEINKUNST 7, PL. 322.3 83 3. Tyrrhenian Amphora (Beazley #310045) by Timiades Painter (name vase). -
The Ancient Greeks
The Ancient Greeks WHO ARE THE ANCIENT GREEKS? DEMOCRACY/SLAVERY Demos = power, Kratos = people. The word “democracy” translates to “power of the people.” Athens incorporated the first democratic government. Every citizen could have a say in the actions of the government, so long as they were a male over 18 with parents who were citizens. You could not be a woman, foreigner, or slave. For a society that promoted democracy for all, Ancient Greece was inconsistent that it had a slavery class. Every household that could afford it used slaves to help with chores. Slaves were also used in factories and mines, as well as on farms and ships. These hard labor slaves had a much shorter lifespan than household slaves. THE ROLE OF WOMEN In Ancient Greek, women ran their households. If they were part of the middle or high classes, they also supervised any domestic slaves. In general, the women of Ancient Greece did not have any power or voice. They were not formally educated. Parents arranged their daughters’ marriages. They would be allowed out of the house only to attend funerals or religious festivals, unless they had special permission. Sparta provided women with an exception to this rule. Spartan women were expected to own land, to be physically fit, and to be educated. This quote tells you all you need to know about Spartan women. When going to war, Spartan mothers told their sons, “Either come back victorious, or dead on your shield.” WAR/CULTURE There were many contrasts within Ancient Greece society. This was an era known for war. -
(Eponymous) Heroes
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot. -
The Higher Aspects of Greek Religion. Lectures Delivered at Oxford and In
BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Henirg m. Sage 1891 .A^^^ffM3. islm^lix.. 5931 CornelJ University Library BL 25.H621911 The higher aspects of Greek religion.Lec 3 1924 007 845 450 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924007845450 THE HIBBERT LECTURES SECOND SERIES 1911 THE HIBBERT LECTURES SECOND SERIES THE HIGHER ASPECTS OF GREEK RELIGION LECTURES DELIVERED AT OXFORD AND IN LONDON IN APRIL AND MAY igii BY L. R. FARNELL, D.Litt. WILDE LECTURER IN THE UNIVERSITY OF OXFORD LONDON WILLIAMS AND NORGATE GARDEN, W.C. 14 HENRIETTA STREET, COVENT 1912 CONTENTS Lecture I GENERAL FEATURES AND ORIGINS OF GREEK RELIGION Greek religion mainly a social-political system, 1. In its earliest " period a " theistic creed, that is^ a worship of personal individual deities, ethical personalities rather than mere nature forces, 2. Anthrqgomorphism its predominant bias, 2-3. Yet preserving many primitive features of " animism " or " animatism," 3-5. Its progress gradual without violent break with its distant past, 5-6. The ele- ment of magic fused with the religion but not predominant, 6-7. Hellenism and Hellenic religion a blend of two ethnic strains, one North-Aryan, the other Mediterranean, mainly Minoan-Mycenaean, 7-9. Criteria by which we can distinguish the various influences of these two, 9-1 6. The value of Homeric evidence, 18-20. Sum- mary of results, 21-24. Lecture II THE RELIGIOUS BOND AND MORALITY OF THE FAMILY The earliest type of family in Hellenic society patrilinear, 25-27. -
Forgetting the Subject
City University of New York (CUNY) CUNY Academic Works Publications and Research Hunter College 2008 Forgetting the Subject Christa Davis Acampora CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_pubs/50 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Reading Nietzsche at the Margins Steven V. Hicks and Alan Rosenberg Purdue University Press I West lafayette, Indiana Contents About the Contributors vii Abbreviations of Nietzsche's Texts xi Copyright 2008 by Purdue University. All rights reserved. Editorial Introduction l Printed in the United States of America. Part l: Prefacing the Margins: A Beginning at Self-Disclosure: ISBN 978-1-55753-451-4 Nietzsche on Resolution, Memory, and Autocritique l. David B. Allison, "Resolution and Autocritique in the Library of Congress Cataloging-in-Publication Data Late Prefaces" l3 Reading Nietzsche at the margins I edited by Steven V. Hicks and Alan Rosenberg. ·' 2. Christa Davis Acampora, "Forgetting the Subject" 34 p.cm. Includes bibliographical references and index. ISBN-13' 978-1-55753-451-4 (alk. paper) Part 2: Laughing at the Margins: Nietzsche's Tragic/Comic 1. Nietzsche, Friedrich Wtlhelm, 1844-1900. I. Hicks, Steven V.,l956- Sense of Life II. Rosenberg, Alan, 1939- 3. Kathleen Marie Higgins, "Suffering in Nietzsche's B3317.R36 2008 193--dc22 2008003485 Philosophy" 59 4. Lawrence J. Hatab, "To Laugh Out of the Whole Truth: Nietzsche as Tragicomic Satyr" 73 5. -
The Mythology of the Ara Pacis Augustae: Iconography and Symbolism of the Western Side
Acta Ant. Hung. 55, 2015, 17–43 DOI: 10.1556/068.2015.55.1–4.2 DAN-TUDOR IONESCU THE MYTHOLOGY OF THE ARA PACIS AUGUSTAE: ICONOGRAPHY AND SYMBOLISM OF THE WESTERN SIDE Summary: The guiding idea of my article is to see the mythical and political ideology conveyed by the western side of the Ara Pacis Augustae in a (hopefully) new light. The Augustan ideology of power is in the modest opinion of the author intimately intertwined with the myths and legends concerning the Pri- mordia Romae. Augustus strove very hard to be seen by his contemporaries as the Novus Romulus and as the providential leader (fatalis dux, an expression loved by Augustan poetry) under the protection of the traditional Roman gods and especially of Apollo, the Greek god who has been early on adopted (and adapted) by Roman mythology and religion. Key words: Apollo, Ara, Augustus, Pax Augusta, Roma Aeterna, Saeculum Augustum, Victoria The aim of my communication is to describe and interpret the human figures that ap- pear on the external western upper frieze (e.g., on the two sides of the staircase) of the Ara Pacis Augustae, especially from a mythological and ideological (i.e., defined in the terms of Augustan political ideology) point of view. I have deliberately chosen to omit from my presentation the procession or gathering of human figures on both the Northern and on the Southern upper frieze of the outer wall of the Ara Pacis, since their relationship with the iconography of the Western and of the Eastern outer-upper friezes of this famous monument is indirect, although essential, at least in my humble opinion. -
Volume XLVI Number 4
The St. Lawrence County Historical Association OUAR TERLY' Volunre XVI - Nunrber 4 - Fall 2001 The St. Lawrence County Historical Association at the Silas Wright House The St. Lawrence County Historical Association is a private, not-fo based at the Silas Wright House in Canton, New York. Fou constitution, by-laws, and Board of Trustees. The elect its trustees. 2002 Officers: 2002 Trustees: President: Carl Stickney, No Chris Angus, Canton Vice-President: Patricia Carson, Canton Treasurer: Carol John Richard Foster, Rossie Secretary: Susie R. Shawn Gray, Massena ,.: ......."...:? ,..? E. Jane Layo, Waddington ,..:$ Stan Maine, Pierrepont 2002 sta@,Jy Trent Trdock, Executive Director Todd Moe, Norwood sue .J.+e&shore, Collections Manager Cathleen O'Horo, Canton Maryellen Jones, Archives Manager ~everl<~~ownell, ..:.<. Administrative Assistant Tim Strong, Potsdam '<> ..>. ..>. 7..., .... "'-, Peter Van de Water, Cant <::... <::... :*::. "...,., ..... ..>. ..:.. The St. Lawrence County Historical serves as an educational resource for the use in the County's history and traditions. The Assoc to the County's history. In cooperation and coll understanding of and appreciation for the Coun Lawrence County Historical Association operates within museum standards established by the American Association of Museums. SLCHA Membership Membership in the St. Lawrence County Historical Association is open to all interested parties. Annual membership dues are: Individual, $25; SeniorIStudent, $20; Family, $35; Contributor, $50; Supporter, $100; Patron, $250; Businesses, $50 to $1,000. Members receive the SLCHA Quarterly, the Historical Association'sbi-monthly newsletter, and various discounts on publications, programs and events. St. Lawrence County Historical Association at the Silas Wright House 3 East Main Street, PO Box 8 Canton, New York 13617 (315) 386-8133 fax (315) 386-8134 e-mail: [email protected] www.slcha.org -- Published continuously since 1956 I The St. -
The Semantics of Chaos in Tjutčev
Slavistische Beiträge ∙ Band 171 (eBook - Digi20-Retro) Sarah Pratt The Semantics of Chaos in Tjutčev Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH.Sarah Pratt - 9783954791286 Downloaded from PubFactory at 01/10/2019 05:00:10AM via free access S l a v is t ic h e B eiträg e BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN ■ HEINRICH KUNSTMANN PETER REHDER • JOSEF SCHRENK REDAKTION PETER REHDER Band 171 VERLAG OTTO SAGNER MÜNCHEN Sarah Pratt - 9783954791286 Downloaded from PubFactory at 01/10/2019 05:00:10AM via free access 00050432 SARAH PRATT THE SEMANTICS OF CHAOS IN TJUTCEV VERLAG OTTO SAGNER • MÜNCHEN 1983 Sarah Pratt - 9783954791286 Downloaded from PubFactory at 01/10/2019 05:00:10AM via free access This work constitutes a portion of a larger work by the author entitled Alternatives in Russian Romanticism: The Poetry of Tiutchev and Baratynskii, © 1983 by the Board of Trustees of the Leland Stanford Junior Uni- versity. It has been published by permission of Stanford University Press. All rights reserved. Bayerische ļ ו i-Miothek I'־ļ Staats ISBN 3-87690-261 -4 © Verlag Otto Sagner, München 1983 Abteilung der Firma Kubon & Sagner, München Druck: Gräbner, Altendorf Sarah Pratt - 9783954791286 Downloaded from PubFactory at 01/10/2019 05:00:10AM via free access 00050432 ACKNOWLEDGMENTS For inspiration and guidance in this endeavor I owe a debt of gratitude to Professor Richard Gustafson of Barnard College, who introduced me to Russian poetry and, most specially, to the poetry of Tjutčev. -
Greek Cultures, Traditions and People
GREEK CULTURES, TRADITIONS AND PEOPLE Paschalis Nikolaou – Fulbright Fellow Greece ◦ What is ‘culture’? “Culture is the characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts […] The word "culture" derives from a French term, which in turn derives from the Latin "colere," which means to tend to the earth and Some grow, or cultivation and nurture. […] The term "Western culture" has come to define the culture of European countries as well as those that definitions have been heavily influenced by European immigration, such as the United States […] Western culture has its roots in the Classical Period of …when, to define, is to the Greco-Roman era and the rise of Christianity in the 14th century.” realise connections and significant overlap ◦ What do we mean by ‘tradition’? ◦ 1a: an inherited, established, or customary pattern of thought, action, or behavior (such as a religious practice or a social custom) ◦ b: a belief or story or a body of beliefs or stories relating to the past that are commonly accepted as historical though not verifiable … ◦ 2: the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction ◦ 3: cultural continuity in social attitudes, customs, and institutions ◦ 4: characteristic manner, method, or style in the best liberal tradition GREECE: ANCIENT AND MODERN What we consider ancient Greece was one of the main classical The Modern Greek State was founded in 1830, following the civilizations, making important contributions to philosophy, mathematics, revolutionary war against the Ottoman Turks, which started in astronomy, and medicine.