Troy Myth and Reality
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Historical Bronzes Catalogue
Historical Bronzes by Fernando Andrea Table of Contents FERNANDO ANDREA ......................................................................................... 5 BRONZE-01 “General Custer (Son of the Morning Star)” ......................... 6 P.BRONZE-01 “General Custer Polychromed Bronze” ............................. 10 BRONZE-02 “Lawrence of Arabia” ................................................................... 12 BRONZE-03 “Chasseur de la Garde” .............................................................. 16 BRONZE-04 “Napoléon à Fontainebleau” ................................................... 20 BRONZE-04S “Napoléon à Fontainebleau (small)” .................................... 24 BRONZE-05 “Le Capitaine, 1805” ............................ ........................................ 26 BRONZE-06 “Banner” .................................................. ........................................ 30 P.BRONZE-06 “Banner Polychromed Bronze” .... ........................................ 33 BRONZE-07 “Le Roi Soleil, 1701” ............................. ........................................ 34 BRONZE-08 “Officier d’Artillerien de la Garde Impériale, 1809” .......... 38 NEWS ................................................................................ ........................................ 42 WORKSHOP ................................................................... ........................................ 44 Fernando Andrea He was born in Madrid, Spain, in 1961 and Fernando is also an accomplished musician received his early -
Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and the Return of the King
Volume 18 Number 2 Article 1 Spring 4-15-1992 Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and The Return of the King David Greenman Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Greenman, David (1992) "Aeneidic and Odyssean Patterns of Escape and Release in Tolkien's "The Fall of Gondolin" and The Return of the King," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 18 : No. 2 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol18/iss2/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Sees classical influence in the quest patterns of olkienT ’s heroes. Tuor fits the pattern of Aeneas (the Escape Quest) and the hobbits in Return of the King follow that of Odysseus (the Return Quest). -
Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; Proquest Pg
The appropriation of a son: Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; ProQuest pg. 127 The Appropriation of a Son: Sophocles' Philoctetes Hanna M. Roisman ANHOOD in archaic and classical Greece-as in modern times-is generally manifested not so much in relation M ships with women as in relationships with other men, especially in the relationship between father and son. The Greek male is expected to produce sons who will continue his oikos (e.g. Soph. Ant. 641-45; Eur. Ale. 62lf, 654-57). Further, as Hesiod makes clear, sons should resemble their fathers in both looks and conduct, especially the latter (Op. 182,235; ef Ii. 6.476-81; Theophr. Char. 5.5). Such resemblance earns the father public esteem and proves his manliness; the lack of it may be cause for disparagement and calls his manliness into question. 1 We learn from Ajax and Philoctetes that Sophocles follows the Hesiodic imperative that sons should resemble their fathers in their natures and their accomplishments. Ajax sees himself as an unworthy son, having lost Achilles' arms to Odysseus, and prefers to commit suicide rather than face his father, Telamon, who took part in Heracles' expedition to Troy and got Hesione, the best part of the booty, as a reward (Aj. 430-40,462-65, 470ff, 1300-303; Diod. 4.32.5). At the same time, he expects his son, Eurysaces, to be like himself in nature, valor, and in everything else ('ttl.~' aA.A.' OIlOlO~, Aj. 545-51). Sophocles' Philoctetes, on the other hand, presents the strug gle between Odysseus and Philoctetes for the 'paternity' of Neoptolemus, as each tries to mold the young man in his own 1 Even in contemporary Greece the intense male rivalry for proving oneself takes place among men alone, while women and flocks serve as the object of this rivalry. -
1 Achilles and Patroclus in the Trojan War: an Introductory Case Study
Cambridge University Press 978-0-521-89582-8 - Interpreting the Images of Greek Myths: An Introduction Klaus Junker Excerpt More information 1 Achilles and Patroclus in the Trojan War: An introductory case study From early times, the use of the bow and arrow formed a part of Greek military practice, as a dangerous long-range weapon. If the arrow had not struck an immediately fatal blow, it could still be the cause of insidious wounds. If the arrowhead had become completely embedded in the body and perhaps, in the heat of the battle, broken off from the shaft, then the removal of the metal would cause acute pain and, in certain circumstances, cause further damage to the tissues surrounding the wound. In the detailed battle descriptions of the Iliad, wounds caused by arrows are mentioned on various occasions. When the Greek Menelaus has just been struck by an arrow, his initial fear gives way to relief that the binding, which attaches the arrowhead to the shaft, is still visible (4, 150–1): the wound cannot be deep and the damage is therefore slight. So too in the picture that will now be used as a test case for interpretation (Fig. 1), the warrior has been lucky in his misfortune. The arrow portrayed in beautiful detail in the left foreground, so as to put the cause of the wound in his arm beyond all doubt, is still complete and, at the most, slightly bent at the tip, unless the small irregularity in the drawing is unintentional. Yet the abrupt turn away of the head and the open mouth, with the teeth visible and coated in added white, convey something of the pain that the man feels, as his comrade-in-arms applies the bandage to his arm. -
Separating Fact from Fiction in the Aiolian Migration
hesperia yy (2008) SEPARATING FACT Pages399-430 FROM FICTION IN THE AIOLIAN MIGRATION ABSTRACT Iron Age settlementsin the northeastAegean are usuallyattributed to Aioliancolonists who journeyed across the Aegean from mainland Greece. This articlereviews the literary accounts of the migration and presentsthe relevantarchaeological evidence, with a focuson newmaterial from Troy. No onearea played a dominantrole in colonizing Aiolis, nor is sucha widespread colonizationsupported by the archaeologicalrecord. But the aggressive promotionof migrationaccounts after the PersianWars provedmutually beneficialto bothsides of theAegean and justified the composition of the Delian League. Scholarlyassessments of habitation in thenortheast Aegean during the EarlyIron Age are remarkably consistent: most settlements are attributed toAiolian colonists who had journeyed across the Aegean from Thessaly, Boiotia,Akhaia, or a combinationof all three.1There is no uniformityin theancient sources that deal with the migration, although Orestes and his descendantsare named as theleaders in mostaccounts, and are credited withfounding colonies over a broadgeographic area, including Lesbos, Tenedos,the western and southerncoasts of theTroad, and theregion betweenthe bays of Adramyttion and Smyrna(Fig. 1). In otherwords, mainlandGreece has repeatedly been viewed as theagent responsible for 1. TroyIV, pp. 147-148,248-249; appendixgradually developed into a Mountjoy,Holt Parker,Gabe Pizzorno, Berard1959; Cook 1962,pp. 25-29; magisterialstudy that is includedhere Allison Sterrett,John Wallrodt, Mal- 1973,pp. 360-363;Vanschoonwinkel as a companionarticle (Parker 2008). colm Wiener, and the anonymous 1991,pp. 405-421; Tenger 1999, It is our hope that readersinterested in reviewersfor Hesperia. Most of trie pp. 121-126;Boardman 1999, pp. 23- the Aiolian migrationwill read both articlewas writtenin the Burnham 33; Fisher2000, pp. -
Homer and Greek Epic
HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) • The Iliad, Books 23-24 • Overview of The Iliad, Books 23-24 • Analysis of Book 24: The Death-Journey of Priam •Grammar 4: Review of Parts of Speech: Nouns, Verbs, Adjectives, Adverbs, Pronouns, Prepositions and Conjunctions HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 23 • Achilles holds funeral games in honor of Patroclus • these games serve to reunite the Greeks and restore their sense of camaraderie • but the Greeks and Trojans are still at odds • Achilles still refuses to return Hector’s corpse to his family HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • Achilles’ anger is as yet unresolved • the gods decide he must return Hector’s body • Zeus sends Thetis to tell him to inform him of their decision • she finds Achilles sulking in his tent and he agrees to accept ransom for Hector’s body HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • the gods also send a messenger to Priam and tell him to take many expensive goods to Achilles as a ransom for Hector’s body • he sneaks into the Greek camp and meets with Achilles • Achilles accepts Priam’s offer of ransom and gives him Hector’s body HomerHomer andand GreekGreek EpicEpic INTRODUCTION TO HOMERIC EPIC (CHAPTER 4.IV) Overview of The Iliad, Book 24 • Achilles and Priam arrange an eleven-day moratorium on fighting -
Horse Motifs in Folk Narrative of the Supernatural
HORSE MOTIFS IN FOLK NARRATIVE OF THE SlPERNA TURAL by Victoria Harkavy A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Interdisciplinary Studies Committee: ___ ~C=:l!L~;;rtl....,19~~~'V'l rogram Director Dean, College of Humanities and Social Sciences Date: ~U_c-ly-=-a2..!-.:t ;LC>=-----...!/~'fF_ Spring Semester 2014 George Mason University Fairfax, VA Horse Motifs in Folk Narrative of the Supernatural A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University by Victoria Harkavy Bachelor of Arts University of Maryland-College Park 2006 Director: Margaret Yocom, Professor Interdisciplinary Studies Spring Semester 2014 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION This is dedicated to my wonderful and supportive parents, Lorraine Messinger and Kenneth Harkavy. iii ACKNOWLEDGEMENTS I would like to thank my committee, Drs. Yocom, Fraser, and Rashkover, for putting in the time and effort to get this thesis finalized. Thanks also to my friends and colleagues who let me run ideas by them. Special thanks to Margaret Christoph for lending her copy editing expertise. Endless gratitude goes to my family taking care of me when I was focused on writing. Thanks also go to William, Folklore Horse, for all of the inspiration, and to Gumbie, Folklore Cat, for only sometimes sitting on the keyboard. iv TABLE OF CONTENTS Page Abstract .............................................................................................................................. vi Interdisciplinary Elements of this Study ............................................................................. 1 Introduction ........................................................................................................................ -
Let's Think About This Reasonably: the Conflict of Passion and Reason
Let’s Think About This Reasonably: The Conflict of Passion and Reason in Virgil’s The Aeneid Scott Kleinpeter Course: English 121 Honors Instructor: Joan Faust Essay Type: Poetry Analysis It has long been a philosophical debate as to which is more important in human nature: the ability to feel or the ability to reason. Both functions are integral in our composition as balanced beings, but throughout history, some cultures have invested more importance in one than the other. Ancient Rome, being heavily influenced by stoicism, is probably the earliest example of a society based fundamentally on reason. Its most esteemed leaders and statesmen such as Cicero and Marcus Aurelius are widely praised today for their acumen in affairs of state and personal ethics which has survived as part of the classical canon. But when mentioning the classical canon, and the argument that reason is essential to civilization, a reader need not look further than Virgil’s The Aeneid for a more relevant text. The Aeneid’s protagonist, Aeneas, is a pious man who relies on reason instead of passion to see him through adversities and whose actions are foiled by a cast of overly passionate characters. Personages such as Dido and Juno are both portrayed as emotionally-laden characters whose will is undermined by their more rational counterparts. Also, reason’s importance is expressed in a different way in Book VI when Aeneas’s father explains the role reason will play in the future Roman Empire. Because The Aeneid’s antagonists are capricious individuals who either die or never find contentment, the text very clearly shows the necessity of reason as a human trait for survival and as a means to discover lasting happiness. -
The General Stud Book : Containing Pedigrees of Race Horses, &C
^--v ''*4# ^^^j^ r- "^. Digitized by tine Internet Arciiive in 2009 witii funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/generalstudbookc02fair THE GENERAL STUD BOOK VOL. II. : THE deiterol STUD BOOK, CONTAINING PEDIGREES OF RACE HORSES, &C. &-C. From the earliest Accounts to the Year 1831. inclusice. ITS FOUR VOLUMES. VOL. II. Brussels PRINTED FOR MELINE, CANS A.ND C"., EOILEVARD DE WATERLOO, Zi. M DCCC XXXIX. MR V. un:ve PREFACE TO THE FIRST EDITION. To assist in the detection of spurious and the correction of inaccu- rate pedigrees, is one of the purposes of the present publication, in which respect the first Volume has been of acknowledged utility. The two together, it is hoped, will form a comprehensive and tole- rably correct Register of Pedigrees. It will be observed that some of the Mares which appeared in the last Supplement (whereof this is a republication and continua- tion) stand as they did there, i. e. without any additions to their produce since 1813 or 1814. — It has been ascertained that several of them were about that time sold by public auction, and as all attempts to trace them have failed, the probability is that they have either been converted to some other use, or been sent abroad. If any proof were wanting of the superiority of the English breed of horses over that of every other country, it might be found in the avidity with which they are sought by Foreigners. The exportation of them to Russia, France, Germany, etc. for the last five years has been so considerable, as to render it an object of some importance in a commercial point of view. -
Queerness in French Baroque Opera: the Relationship Between Achilles and Patroclus in Jean Baptiste Lully’S Achille Et Polyxène
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 5-7-2021 Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène Jason Thompson [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Thompson, Jason, "Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène" (2021). Master's Theses. 210. https://digscholarship.unco.edu/theses/210 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2021 JASON TRAVIS THOMPSON ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School QUEERNESS IN FRENCH BAROQUE OPERA: THE RELATIONSHIP BETWEEN ACHILLES AND PATROCLUS IN JEAN-BAPTISTE LULLY’S ACHILLE ET POLYXÈNE A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Jason Travis Thompson College of Performing and Visual Arts School of Music Music History and Literature May 2021 This Thesis by: Jason Travis Thompson Entitled: Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène has been approved as meeting the requirement for the Degree of Master of Music in the College of Performing and Visual Arts in the School of Music, Program of Music History and Literature. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it.