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Sea Monsters in Antiquity: a Classical and Zoological Investigation
Sea Monsters in Antiquity: A Classical and Zoological Investigation Alexander L. Jaffe Harvard University Dept. of Organismic and Evolutionary Biology Class of 2015 Abstract: Sea monsters inspired both fascination and fear in the minds of the ancients. In this paper, I aim to examine several traditional monsters of antiquity with a multi-faceted approach that couples classical background with modern day zoological knowledge. Looking at the examples of the ketos and the sea serpent in Roman and Greek societies, I evaluate the scientific bases for representations of these monsters across of variety of media, from poetry to ceramics. Through the juxtaposition of the classical material and modern science, I seek to gain a greater understanding of the ancient conception of sea monsters and explain the way in which they were rationalized and depicted by ancient cultures. A closer look at extant literature, historical accounts, and artwork also helps to reveal a human sentiment towards the ocean and its denizens penetrating through time even into the modern day. “The Sea-monsters, mighty of limb and huge, the wonders of the sea, heavy with strength invincible, a terror for the eyes to behold and ever armed with deadly rage—many of these there be that roam the spacious seas...”1 Oppian, Halieutica 1 As the Greek poet Oppian so eloquently reveals, sea monsters inspired both fascination and fear in the minds of the ancients. From the Old Testament to Ovid, sources from throughout the ancient world show authors exercising both imagination and observation in the description of these creatures. Mythology as well played a large role in the creation of these beliefs, with such classic examples as Perseus and Andromeda or Herakles and Hesione. -
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. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 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] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
Folktale Types and Motifs in Greek Heroic Myth Review P.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic Quest
Mon Feb 13: Heracles/Hercules and the Greek world Ch. 15, pp. 361-397 Folktale types and motifs in Greek heroic myth review p.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic quest NAME: Hera-kleos = (Gk) glory of Hera (his persecutor) >p.395 Roman name: Hercules divine heritage and birth: Alcmena +Zeus -> Heracles pp.362-5 + Amphitryo -> Iphicles Zeus impersonates Amphityron: "disguised as her husband he enjoyed the bed of Alcmena" “Alcmena, having submitted to a god and the best of mankind, in Thebes of the seven gates gave birth to a pair of twin brothers – brothers, but by no means alike in thought or in vigor of spirit. The one was by far the weaker, the other a much better man, terrible, mighty in battle, Heracles, the hero unconquered. Him she bore in submission to Cronus’ cloud-ruling son, the other, by name Iphicles, to Amphitryon, powerful lancer. Of different sires she conceived them, the one of a human father, the other of Zeus, son of Cronus, the ruler of all the gods” pseudo-Hesiod, Shield of Heracles Hera tries to block birth of twin sons (one per father) Eurystheus born on same day (Hera heard Zeus swear that a great ruler would be born that day, so she speeded up Eurystheus' birth) (Zeus threw her out of heaven when he realized what she had done) marvellous infancy: vs. Hera’s serpents Hera, Heracles and the origin of the MIlky Way Alienation: Madness of Heracles & Atonement pp.367,370 • murders wife Megara and children (agency of Hera) Euripides, Heracles verdict of Delphic oracle: must serve his cousin Eurystheus, king of Mycenae -> must perform 12 Labors (‘contests’) for Eurystheus -> immortality as reward The Twelve Labors pp.370ff. -
Extended Abstract Vol 3, Iss 1 International Journal of Advanced
Extended Abstract International Journal of Advanced Research in Electrical, Electronics and Vol 3, Iss 1 Instrumentation Engineering 2020 Machine Learning 2019: Cassandra-A novel versatile fully scalable Predictive Maintenance solution: Ludovic A. Krundel - IngDan Labs • Cogobuy Group, Comtech Tower, Hong Kong Ludovic A. Krundel IngDan Labs, Cogobuy Group, Comtech Tower, Hong Kong Machines with moving parts induce vibrations. Paris, who demands that he will travel to Sparta, and Various readings such as wavelength, frequency, on the off chance that Hesione isn't returned to him, he phase, amplitude, and more, measure these vibrations. will take Helen. The pressure increments when Analysis of these readings can not only identify but Cassandra encounters a sort of fit and collapses, also facilitate the prediction of faults. Advanced having anticipated the drop of Troy. By the time she calculations such as Fast Fourier Transform and recuperates, Paris has cruised to Sparta and returned, application of pre-trained deep networks lead to bringing Helen, who wears a veil. Cassandra before projection estimates. long starts to suspect—but does not need to believe— that Helen isn't in Troy, after all. No one is allowed to Cassandra provides accurate Predictive Maintenance see her, and Cassandra has seen Paris' previous darling for all types of machinery with moving parts and more Oenone clearing out his room. Be that as it may, she is such as train rails. Our solution is as revolutionary as incapable to acknowledge that Troy—that her father— replacing the horse by the car: using Cassandra in a would proceed to get ready for a war on the off chance factory can avoid considerable costs in the break down that its preface were untrue.In spite of the fact that related expenses. -
The Sacrifice of Polyxena
The Sacrifice of Polyxena Melissa Natividade The Sacrifice of Polyxena By Charles Le Brun 1619–1690 Paris Date: 1647 Accession Number: 2013.183 Much has been discussed in great detail throughout this semester but naturally much more happened during the Trojan War than can be discussed in the three hours of class each week. Polyxena is one of those subjects that was touched upon but never truly explored in detail, making the painting recounting her sacrifice at the Metropolitan Museum of Art quite surprising and intriguing. Though there are discrepancies regarding details in the setup of the painting, The Sacrifice of Polyxena by Charles Le Brun successfully used specific iconography to capture and reconstruct the exact moment in the Trojan War that he wished to portray to his audience. At first glance, it was clear that the painting was a sacrifice of a young woman, leaving little room for debate on the possible identity of the subject of the painting. With minimal knowledge of the Trojan War, the subject of the sacrifice could be narrowed down to either the sacrifice of Iphigenia at Aulis or the sacrifice of Polyxena at Troy. One object, Achilles’ tomb, in the background of the painting immediately clarifies the circumstance as being the sacrifice of Polyxena. Achilles was the only great warrior that would have gotten such a proper burial and though that did not happen in the Homer’s original works, Le Brun represents Achilles’ tomb as being quite grand to invoke Achilles’ presence in the situation despite his physical absence. Other characters specific to this scene in Ovid’s “Metamorphoses” are Hecuba and Neoptolemus, who has substantial iconography in the painting. -
ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck -
Homer – the Iliad
HOMER – THE ILIAD Homer is the author of both The Iliad and The Odyssey. He lived in Ionia – which is now modern day Turkey – between the years of 900-700 BC. Both of the above epics provided the framework for Greek education and thought. Homer was a blind bard, one who is a professional story teller, an oral historian. Epos or epic means story. An epic is a particular type of story; it involves one with a hero in the midst of a battle. The subject of the poem is the Trojan War which happened approximately in 1200 BC. This was 400 years before the poem was told by Homer. This story would have been read aloud by Homer and other bards that came after him. It was passed down generation to generation by memory. One can only imagine how valuable memory was during that time period – there were no hard drives or memory sticks. On a tangential note, one could see how this poem influenced a culture; to be educated was to memorize a particular set of poems or stories which could be cross-referenced with other people’s memory of those particular stories. The information would be public and not private. The Iliad is one of the greatest stories ever told – a war between two peoples; the Greeks from the West and the Trojans from the East. The purpose of this story is to praise Achilles. The two worlds are brought into focus; the world of the divine order and the human order. The hero of the story is to bring greater order and harmony between these two orders. -
The Polyxena Pattern
J. Weiner / PsyArt 20 (2016) 104–115 The Polyxena Pattern Jeffrey Weiner UC Davis Abstract The title of this article is based on Seneca's description of the sacrifice of Polyxena in "The Trojan Women." The fear, desire, and transcendence that the sacrificed maiden elicits in the audience put the feminine at the center of an experience of fear and wonder that characterizes Shakespearean romance. This paper explores the paradoxical, early modern concept of "amazement" in relation to traumatic wounding and gender. Focusing on Shakespeare's late romances, especially Cymbeline and The Winter's Tale, I link the experience of terror to a traumatizing "evil queen" archetype. This fantasy inspires a sense of amazement as terror and results in the punishment of another archetypal character, the sacrificed maiden. When the female figure returns as the redeeming maiden at the end of Shakespeare's romances, she allows the male spectator to approach the terror and desire that the feminine inspire in him by providing him with an escape into fantasy. Keywords Early modern, theory of the soul, amazement, terror, romance, transformation To cite as Weiner, J., 2016, ‘The Polyxena Pattern’, PsyArt 20, pp. 104–115. In Shakespeare’s Pericles, Cymbeline, and The Winter’s Tale the men succumb to their fantasies of feminine threat and allure. If we think of Shakespeare’s plays chronologically, this is not surprising given the sharpening polarization of female characters in his late tragedies, which directly precede the romances: the malevolent sisters and the misunderstood, sacrificed daughter in King Lear; maligned Desdemona, who in Othello’s mind flutters between irresistible goodness and repugnant evil; the polar opposite wives, Lady Macbeth and Lady Macduff; and, of course, the seductive, but debauched temptress Cleopatra and the self-sacrificing, chaste Octavia. -
Child Abuse in Greek Mythology: a Review C Stavrianos, I Stavrianou, P Kafas
The Internet Journal of Forensic Science ISPUB.COM Volume 3 Number 1 Child Abuse in Greek Mythology: A Review C Stavrianos, I Stavrianou, P Kafas Citation C Stavrianos, I Stavrianou, P Kafas. Child Abuse in Greek Mythology: A Review. The Internet Journal of Forensic Science. 2007 Volume 3 Number 1. Abstract The aim of this review was to describe child abuse cases in ancient Greek mythology. Names like Hercules, Saturn, Aesculapius, Medea are very familiar. The stories can be divided into 3 categories: child abuse from gods to gods, from gods to humans and from humans to humans. In these stories children were abused in different ways and the reasons were of social, financial, political, religious, medical and sexual origin. The interpretations of the myths differed and the conclusions seemed controversial. Archaeologists, historians, and philosophers still try to bring these ancient stories into light in connection with the archaeological findings. The possibility for a dentist to face a child abuse case in the dental office nowadays proved the fact that child abuse was not only a phenomenon of the past but also a reality of the present. INTRODUCTION courses are easily available to everyone. Child abuse may be defined as any non-accidental trauma, On 1860 the forensic odontologist Ambroise Tardieu, neglect, failure to meet basic needs or abuse inflicted upon a referring to 32 cases, made a connection between subdural child by a caretaker that is beyond the acceptable norm of haematoma and abuse. In 1874 a church group in New York childcare in our culture. Abused children found in all 1 City took a child named Mary-Helen from home in which economic, social, ethnic and cultural backgrounds and she was being abused. -
Greek, Tamil and Sanskrit: Comparison Between the Myths of 29 Herakles (Related with Iole and Deianira) and Rama in Hinduism
2021-4155-AJP – 23 MAR 2021 1 Greek, Tamil and Sanskrit: Comparison between the 2 Myths of Prometheus, Sembian and Sibi 3 4 The Prometheus myth in Greek literature deals primarily with the theft of fire. 5 The mythological story unwinds such events as the sacrificial thigh bone, God’s 6 corporal punishment, and the eating of flesh by an eagle. A link with the Ocea- 7 nus race and with the continent of Asia is also seen. Interestingly resemblances 8 with this myth can be seen in some ancient literary sources from Tamil and San- 9 skrit languages. The Tamil myth of ‘Sembian’ and the Sanskrit myth of ‘Sibi’ 10 also have resemblances with the Greek myth of Prometheus. The parallels seen 11 between these myths are examined here. 12 13 Keywords: comparative study, Indian, myth, Prometheus, Sanskrit, Sembi- 14 an, Sibi, Tamil 15 16 17 Introduction 18 19 Myths can be considered to be the ancient sources of information on an- 20 cient history and culture. Some myths even though arising in different corners 21 of the world and in different languages strangely reflect one another. The simi- 22 larities in mythologies may indicate parallels and influences of one on another. 23 If the similarities are occasional they may be seen as parallels. If the similari- 24 ties are made by personal contact, they may be seen as influences. The Greek 25 myth of Prometheus has similarities with the Tamil myth of Sembian and the 26 Sanskrit myth of Sibi. 27 28 Prometheus 29 30 There are many myths related with Prometheus, among those myths some 31 noteworthy mentions are as follows: 32 33 1. -
1 Aeschylus, Prometheus Vinctus Enter FORCE and VIOLENCE
1 Aeschylus, Prometheus Vinctus Enter FORCE and VIOLENCE carrying PROMETHEUS, and HEPHAESTUS. FORCE Now we have come to the land at the end of the earth, to the Scythians’ road, a desert where are no mortals. Hephaestus, you must look to the orders Father Zeus laid on you, to fetter this insolent creature to the high-cragged rocks in adamantine-chained unbreakable bonds. For he stole your bloom, the brightness of all-crafting fire, and bestowed it on humans. For this offence he must pay their price to the deities, so that he may learn to love Zeus’s rule and cease from his custom of caring for mortal men. HEPHAESTUS Violence, Force, through you the will of Zeus has its way, and nothing can obstruct it. But I lack the daring to bind by violence a cousin-deity to this bitter cliff. And yet somehow I must find the presumption for this; a grave thing it is to ignore the Father’s word. High-thinking child of Themis of right judgement, unwilling I will hammer unwilling you with unloosable bronze to this abominable rock where you will see neither shape nor sound of men. The bloom of your skin blisters off in the sun’s fierce Phoebus-flame. Your only relief as an age of grief seeps out of each moment’s evil is when the glittering robe of night-frost hides that fire till again the sunrise strips off your dawn-time ice. Only one can respite you; he's not yet alive. And this your reward for your custom of caring for men.