1000 Mythological Characters
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Family Hesperiwidae (Skippers) Subfamily Hesperiinae (Grass Skippers) Subfamily Pyrginae (Spread-wing Skippers) ____Julia’s Skipper Nastra julia ____ Guava Skipper Phocides polbius ____Pale-rayed Skipper Vidius perigenes ____Mercurial Skipper Proteides mercurius ____Fawn-spotted Skipper Cymaenes odilia ____White-striped Longtail Chioides catillus ____Clouded Skipper Lerema accius ____Zilpa Longtail Chioides zilpa ____Orange Skipperling Copaeodes aurantiacia ____Long-tailed Skipper Urbanus proteus ____Southern Skipperling Copaeodes minima ____Teleus Longtail Urbanus teleus ____Fiery Skipper Hylephila phyleus ) ____Brown Longtail Urbanus procne ____Whirlabout Polites vibex ____ Dorantes Longtail Urbanus dorantes ____Southern Broken-Dash Wallengrenia otho ____Coyote Cloudywing Achalarus toxeus ____Sachem Atalopedes campestris ____Mimosa Skipper Cogia calchas ____Celia's Roadside-Skipper Amblyscirtes celia ____Potrillo Skipper Cabares potrillo ____Nysa Roadside-Skipper Amblyscirtes nyhsa ____Two-barred Flasher Astraptes fulgerator ____Dun Skipper Euphyes vestries ____Glazed Pellicia Pellicia arina ____Eufala Skipper Lerodea eufala ____Olive-clouded Skipper Lerodea arabus ____Mazans Scallopwing Staphylus mazans ____Texas Powdered Skipper Systasea pulverulenta ____Brazilian Skipper Calpodes ethlius ____Sickle-winged Skipper Eantis tamenund ____Obscure Skipper Panoquina panoquinoides ____Brown-banded Skipper Timochares ruptifasciatus ____Ocola Skipper Panoquina ocola ____White-patched Skipper Chiomara georgina ____Purple-washed Skipper Panoquina -
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. -
Ribera's Drunken Silenusand Saint Jerome
99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). Both paintings include elaborate Latin inscriptions stating that they were executed in Naples, the city in which the artist had resided for the past decade and where he ultimately remained for the rest of his life. Taking each in turn, this essay explores the nature and implications of these inscriptions, and offers new interpretations of the paintings. I argue that these complex representations of mythological and religious subjects – that were destined, respectively, for a private collection and a Neapolitan church – may be read as incarnations of the city of Naples. Naming the paintings’ place of production and the artist’s city of residence in the signature formulae was thus not coincidental or marginal, but rather indicative of Ribera inscribing himself textually, pictorially and corporeally in the fabric of the city. Keywords: allegory, inscription, Naples, realism, Jusepe de Ribera, Saint Jerome, satire, senses, Silenus Full text: http://openartsjournal.org/issue-6/article-5 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Biographical note Edward Payne is Head Curator of Spanish Art at The Auckland Project and an Honorary Fellow at Durham University. He previously served as the inaugural Meadows/Mellon/Prado Curatorial Fellow at the Meadows Museum (2014–16) and as the Moore Curatorial Fellow in Drawings and Prints at the Morgan Library & Museum (2012–14). -
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique Copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS BY LILIAN STOUGHTON HYDE YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republication of the work originally published by D. C. Heath and Company in 1904. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hundreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-261-4 ISBN-13: 978-1-59915-261-5 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE In the preparation of this book, the aim has been to present in a manner suited to young readers the Greek myths that have been world favorites through the centuries, and that have in some measure exercised a formative infl uence on literature and the fi ne arts in many countries. While a knowledge of these myths is undoubtedly necessary to a clear understanding of much in literature and the arts, yet it is not for this reason alone that they have been selected; the myths that have appealed to the poets, the painters, and the sculptors for so many ages are the very ones that have the greatest depth of meaning, and that are the most beautiful and the best worth telling. -
Ribera's Drunken Silenusand Saint
Durham Research Online Deposited in DRO: 19 July 2019 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Payne, Edward (2017) 'Naples in esh and bones : Ribera's drunken silenus and Saint Jerome.', Open Arts journal. (6). pp. 99-113. Further information on publisher's website: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Publisher's copyright statement: This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk 99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). -
Myths and Legends in the Stories of Eudora Welty Robert Keith Brower
University of Richmond UR Scholarship Repository Master's Theses Student Research Winter 1972 Myths and legends in the stories of Eudora Welty Robert Keith Brower Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Brower, Robert Keith, "Myths and legends in the stories of Eudora Welty" (1972). Master's Theses. Paper 346. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. MYTHS AUD LEGENDS IN THE STORIES OF EUDORA WELTY BY ROBERT KEITH BHOWER A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CA.L'lD ID ACY FOR THE DEGREE OF Hl\STER OF ARTS IN ENGLISH JANUARY, 1972 hY'l'HB AND LEGENDS Itl 'i1HE STORIES OP EUDOfu'\ NLLTY BY ROBI:R'l' KEITH 1rnmmn .i\PPHOVED: IHB::l J. HOODY HCDILL DIH.GC'i'Ol'{ UBFM.RY UNlVEf~SITY OF RICHMOND VIRGINIA TABLE OF CONTENTS CHAPTER PAGE Introduction • • • • • • • • • • • • • • • • • • • • 1 Selected Stories • • • • • • • • • • • • • • • • • • 6 !,h!:, Go!_den _ AE,Ele! • • • • • • • • • • • • • • • • • 33 The Natchez Stories • • • • • • • • • • • • • • • • 56 Conclusion • • • • • • • • • • • • • • • • • • • • • 78 Appendix A • • • • • • • • • • • • • • • • • • • • • 80 Appendix B • • • • • • • • • • • • • • • • • • • • • 81 Appendix c • • • • • • • • • • • • • • • • • • • • • 83 Bibliography • • • • • • • • • • • • • • • • • • • • 84 Vita • • • • • • • • • • • • • • • • • • • • • • • • 90 th.~ ~rte.tan VD!'! u,,,¥: •it ~giu~td.ott haa b~n cri~'irplad.. by th.a ~ltJ~ta;t.fJia i!ha·t· d.:tiiVGlll ·it to "l p:reooeQpation ~iitb. t:hll;.n1ftbl..o . l i11u1t. Li:k.61) ·any otbGr, giine:r1".l.i~atis1i,· t:hez:"l~ ~:l!'e. -
Bulfinch's Mythology
Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34 -
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. -
Bflychecklist for Resaca
SWALLOWTAILS Family Papilionidae ___Little Yellow Eurema lisa ___Eastern Tailed Blue Cupido comytas ___Phaon Crescent Phyciodes phaon ___Pipevine Swallowtail Battus philenor ___Mimosa Yellow * Eurema nise METALMARKS Family Riodinidae ___Pearl Crescent Phyciodes tharos ___Polydamas Swallowtail * Battus polydamas ___Dina Yellow Eurema dina ___Fatal Metalmark Calephelis nemesis ___American Lady Vanessa virginiensis ___Black Swallowtail Papilio polyxenes ___Sleepy Orange Eurema nicippe ___Rounded Metalmark Calephelis perditalis ___Painted Lady Vanessa carfui ___Giant Swallowtail Papilio cresphontes ___Dainty Sulphur Nathalis iole ___Rawson’s Metalmark Calephelis rawsoni ___Red Admiral Vanessa atalanta ___Ornythion Swallowtail Papilio ornythion HAIRSTREAKS Subfamily Theclinae ___Red-bordered Metalmark * Caria ino ___Common Buckeye Junonia coenia ___Thoas Swallowtail Papilio thoas ___Strophius Hairstreak * Allosmaitia strophius ___Blue Metalmark * Lasaia sula ___Tropical Buckeye Junonia genoveva ___Three-tailed Swallowtail Papilio pilumnus ___Great Purple Hairstreak Atlides halesus ___Red-bordered Pixie * Melanis pixe ___White Peacock * Anartia jatrophae ___Dark Kite-Swallowtail Eurytides philolaus ___Aquamarine Hairstreak Oenomaus ortygnus ___Curved-winged Metalmark * Emesis emesia ___Banded Peacock * Anartia Fatima ___Ruby-spotted Swallowtail * Papilio anchisiades ___Marius Hairstreak * Rekoa marius ___Narrow-winged Metalmark * Apodemia multiplaga ___Malachite * Siproeta stelenes WHITES Subfamily Pierinae ___Telea Hairstreak * Chlorostrymon -
TSJCL Mythology
CONTEST CODE: 09 2012 TEXAS STATE JUNIOR CLASSICAL LEAGUE MYTHOLOGY TEST DIRECTIONS: Please mark the letter of the correct answer on your scantron answer sheet. 1. The myrtle and the dove are her symbols (A) Amphitrite (B) Aphrodite (C) Artemis (D) Athena 2. His wife left him and ran off to Troy with Paris; he was not happy about it and got some help (A) Agamemnon (B) Diomedes (C) Menelaus (D) Odysseus 3. This deity was the only one who worked; god of the Forge and Blacksmiths (A) Apollo (B) Hephaestus (C) Mercury (D) Neptune 4. He went searching for a bride and found Persephone (A) Aeacus (B) Hades (C) Poseidon (D) Vulcan 5. Half man, half goat, he was the patron of shepherds (A) Aeolus (B) Morpheus (C) Pan (D) Triton 6. He attempted to win the contest as Patron of Athens, but lost to Athena (A) Apollo (B) Hephaestus (C) Hermes (D) Poseidon 7. He performs Twelve Labors for his cousin as penance for crimes committed while mad (A) Aegeus (B) Heracles (C) Jason (D) Theseus 8. As punishment for opposing Zeus, he holds the Heavens on his shoulders (A) Atlas (B) Epimetheus (C) Oceanus (D) Prometheus 9. Son of Zeus, king of Crete, he ordered the Labyrinth built to house the Minotaur (A) Alpheus (B) Enipeus (C) Minos (D) Peleus 10. This wise centaur taught many heroes, including Achilles (A) Chiron (B) Eurytion (C) Nessus (D) Pholus 11. She was the Muse of Comedy (A) Amphitrite (B) Euphrosyne (C) Macaria (D) Thalia 12. She rode a white bull from her homeland to Crete and bore Zeus three sons (A) Danae (B) Europa (C) Leda (D) Semele 13. -
The 2012 Yale Certamen Intermediate Level Round 1 ! 1
The 2012 Yale Certamen Intermediate Level Round 1 ! 1. What is the meaning of the Latin word “nux?” NUT B1 What is the meaning of the Latin word “nuper”? RECENTLY B2 What is the meaning of the Latin word “nīveus”? (SNOWY-)WHITE 2. What Roman emperor was swept into power by the victory of Antonius Primus at the Second Battle of Cremona at the conclusion of 69 A.D., the so-called “Year of the Four Emperors?” VESPASIAN B1 Vespasian assumed censorial powers in order to be able to directly nominate new senators. What is the term for this nomination process? ADLECTIO B2 Vespasian sent his son Titus to take over the siege of what city in 70 A.D.? JERUSALEM 3. What musician taught Heracles how to play the lyre? LINUS B1 What muse was the mother of Linus? CALLIOPE/URANIA B2 What son of Hermes taught Heracles how to wrestle? AUTOLYCUS 4. Translate the following sentence from Latin to English: “Omnibus Rōmānis crēdō, sed nullīs Graecīs.” I TRUST ALL ROMANS (ROMAN MEN), BUT NO GREEKS (GREEK MEN) B1 Translate into English: “Cui dabo meum librum?” (TO) WHOM SHALL I GIVE MY BOOK? B2 Translate into English: “Quibuscum venisti?” WITH WHOM DID YOU COME? 5. What god was the father of Aristaeus? APOLLO B1 What nymph was the mother of Aristaeus? CYRENE B2 What son of Aristaeus and Autonoe was turned into a deer and killed by his own dogs? ACTAEON 6. What derivative of the Latin word “panis,” meaning “bread,” refers to a “person or animal with whom one spends a lot of time, or with whom one travels”? COMPANION B1 What derivative of “panis” means “a small room or closet in which food, dishes, and utensils are kept”? PANTRY The 2012 Yale Certamen Intermediate Level Round 1 ! B2 What derivative of the adverb “paene” refers to “a piece of land almost surrounded by water”? PENINSULA 7. -
The Frescoes in the Villa of the Mysteries, Pompeii
THE FRESCOES IN THE VILLA OF THE MYSTERIES, POMPEII By ELAINE ROSEMARY MACDONALD MINOR DISSERTATION Submitted in partial fulfillment ofthe requirements for the degree of MAGISTER ARTIUM In Latin in the department of Greek and Latin Studies In the faculty of Humanities at the UNIVERSITY OF JOHANNESBURG Supervisor: Prof. JLP Wolmarans Co-supervisor: Prof. W J Henderson Johannesburg 2010 DECLARATION I hereby declare that the dissertation submitted for the Magister Artium (Latin) to the University of Johannesburg, apart from the help recognised, is my own work and has not previously been submitted to another university or institution ofhigher education for a Degree. ABSTRACT Ofthe many paintings in Pompeii, the frescoes in the Villa of the Mysteries are an example ofthe most beautiful and the most intriguing. These fascinating images have become the focus of much scholarly research and consequent debate that has continued since Amedeo Maiuri (Chief Archaeologist ofPompeii in the 1920's and overseer of the excavation of the Villa ofthe Mysteries) published his belief that the paintings represented the initiation of a young woman into the cult of Dionysus. The paintings were executed during the first half of the first century BCE at a time when many different mystery cults were popular. Some rituals even overlapped, having elements of more than one cult. This has resulted in a variety ofintetpretations as to the god (or gods) represented and the overall meaning of the paintings by numerous scholars, based on a plethora of reasons. In the attempt to investigate and compare these differing opinions and the information used to form them, this dissertation concludes that Maiuri's theory is the most plausible.