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Greek Mythology
Greek Mythology The Creation Myth “First Chaos came into being, next wide bosomed Gaea(Earth), Tartarus and Eros (Love). From Chaos came forth Erebus and black Night. Of Night were born Aether and Day (whom she brought forth after intercourse with Erebus), and Doom, Fate, Death, sleep, Dreams; also, though she lay with none, the Hesperides and Blame and Woe and the Fates, and Nemesis to afflict mortal men, and Deceit, Friendship, Age and Strife, which also had gloomy offspring.”[11] “And Earth first bore starry Heaven (Uranus), equal to herself to cover her on every side and to be an ever-sure abiding place for the blessed gods. And earth brought forth, without intercourse of love, the Hills, haunts of the Nymphs and the fruitless sea with his raging swell.”[11] Heaven “gazing down fondly at her (Earth) from the mountains he showered fertile rain upon her secret clefts, and she bore grass flowers, and trees, with the beasts and birds proper to each. This same rain made the rivers flow and filled the hollow places with the water, so that lakes and seas came into being.”[12] The Titans and the Giants “Her (Earth) first children (with heaven) of Semi-human form were the hundred-handed giants Briareus, Gyges, and Cottus. Next appeared the three wild, one-eyed Cyclopes, builders of gigantic walls and master-smiths…..Their names were Brontes, Steropes, and Arges.”[12] Next came the “Titans: Oceanus, Hypenon, Iapetus, Themis, Memory (Mnemosyne), Phoebe also Tethys, and Cronus the wily—youngest and most terrible of her children.”[11] “Cronus hated his lusty sire Heaven (Uranus). -
The Thebaid Europa, Cadmus and the Birth of Dionysus
The Thebaid Europa, Cadmus and the birth of Dionysus Caesar van Everdingen. Rape of Europa. 1650 Zeus = Io Memphis = Epaphus Poseidon = Libya Lysianassa Belus Agenor = Telephassa In the Danaid, we followed the descendants of Belus. The Thebaid follows the descendants of Agenor Agenor = Telephassa Cadmus Phoenix Cylix Thasus Phineus Europa • Agenor migrated to the Levant and founded Sidon • But see Josephus, Jewish Antiquities i.130 - 139 • “… for Syria borders on Egypt, and the Phoenicians, to whom Sidon belongs, dwell in Syria.” (Hdt. ii.116.6) The Levant Levant • Jericho (9000 BC) • Damascus (8000) • Biblos (7000) • Sidon (4000) Biblos Damascus Sidon Tyre Jericho Levant • Canaanites: • Aramaeans • Language, not race. • Moved to the Levant ca. 1400-1200 BC • Phoenician = • purple dye people Biblos Damascus Sidon Tyre Agenor = Telephassa Cadmus Phoenix Cylix Thasus Phineus Europa • Zeus appeared to Europa as a bull and carried her to Crete. • Agenor sent his sons in search of Europa • Don’t come home without her! • The Rape of Europa • Maren de Vos • 1590 Bilbao Fine Arts Museum (Spain) Image courtesy of wikimedia • Rape of Europa • Caesar van Everdingen • 1650 • Image courtesy of wikimedia • Europe Group • Albert Memorial • London, 1872. • A memorial for Albert, husband of Queen Victoria. Crete Europa = Zeus Minos Sarpedon Rhadamanthus • Asterius, king of Crete, married Europa • Minos became king of Crete • Sarpedon king of Lycia • Rhadamanthus king of Boeotia The Brothers of Europa • Phoenix • Remained in Phoenicia • Cylix • Founded -
Tragedy and the Feminine MASTER of ARTS
The Monstrous Revolution: Tragedy and the Feminine by Alana Sawchuk In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in The Department of English State University of New York New Paltz, New York 12561 December 2016 THE MONSTROUS REVOLUTION: TRAGEDY AND THE FEMININE Alana Sawchuk State University of New York at New Paltz _________________________________________________ We, the thesis committee for the above candidate for the Master of Arts degree, hereby recommend acceptance of this thesis. ____________________________________________________ Vicki Tromanhauser, Thesis Advisor Department of English, SUNY New Paltz ____________________________________________________ Thomas Festa, Thesis Committee Member Department of English, SUNY New Paltz Approved on ______________ Submitted in partial fulfillment of the requirements for the Master of Arts degree in English at the State University of New York at New Paltz Sawchuk 1 Alana Sawchuk December 19, 2016 The Monstrous Revolution: Tragedy and the Feminine I. Introduction How might contemporary readers best approach the absolute strangeness of the ancient, canonical texts of the Western tradition? How might we consider the value of these classical texts in conjunction with our own experience? While many, if not all of these works are the richer for having been read by a plethora of common readers as well as scholars over the centuries, I would like to insist that there is an enormous benefit to taking a personal, intimate approach to their “strangeness.” Anne Carson, in an interview with The Paris Review in 2004, expresses best how we might access these texts: “What’s entrancing about the Greeks is that you get little glimpses of similarity, embedded in unbelievable otherness, in this huge landscape of strange convictions about the world and reactions to life that make no sense at all.” In so charmingly few words, Carson has invited us to consider why the inconceivably long breadth of time between antiquity and our own historical period is not quite so distant as we might think. -
Travel Descriptions in the Argonautica of Apollonius Rhodius
TRAVEL DESCRIPTIONS IN THE ARGONAUTICA OF APOLLONIUS RHODIUS M. A. HARDER* 1. INTRODUCTION In the third century BC, the Alexandrian poet Apollonius Rhodius wrote his Argonautica, an epic in four books, in which he told of Jason's journey to Colchis to bring back the Golden Fleece. This journey was long and full of perils and adventures. On the outward journey the Argonauts followed the traditional route across the Aegean Sea and into the Black Sea. On the homeward journey, after securing the Golden Fleece with the assistance of the Colchian princess Medea, they took a different route to escape from the Colchians who chased after them. They went along the Ister and passed through many strange and distant places in the far West, and in North-Africa before they eventually reached their home in Iolcus again. This story, in which travel descriptions obviously play a part, is placed in the distant mythical past, before the Trojan War, and told by an external narrator long after the event. In this article I wish to investigate some aspects of the nature and importance of the travel descriptions in the Argonautica and the way in which they are presented to the reader.1 2. TRAVEL DESCRIPTIONS IN THE ARGONAUTICA Generally speaking, Apollonius' travel descriptions are a bookish mixture of scientific Alexandrian geography and the fabulous geography of Homer.2 Apollonius concentrates on description of the features of the landscape and peoples. Other items which might figure in a travel description, like towns, buildings or monuments receive little attention.3 * Department of Greek and Latin, University of Groningen, The Netherlands. -
Apollonius Rhodius Argonautica 4 and the Epic Gaze: There and Back Again
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham ePrints Helen Lovatt Apollonius Rhodius Argonautica 4 and the epic gaze: There and back again The visuality of Apollonius Argonautica is complex and fascinating, and impor- tant for understanding that of later Greek and Roman epic.1 The Argonautica features in The Epic Gaze as the epic that wouldn’t, a refusenik of the epic genre, a counterexample.2 This chapter explores the particular visuality of Apollonius in more depth, by focusing on book 4 and its continuities and diver- gences from the previous books.3 William Thalmann, using the poetics of space, produces a reading of the Argonauts as a force for order, a representa- tion of Greekness, closely interlinked with Greek colonisation.4 Although he is careful to bring out the negatives, the difficulties and the confusions, this is an unusually positive reading of the Argonautica, rather in the same vein as Tim Stover’s reading of Valerius Flaccus.5 Space and visuality are closely relat- ed, and Thalmann illuminates processes of gazing in Apollonius, partly draw- ing on, or parallelling, the work of Alex Purves.6 In contrast Sistakou’s evoca- tion of the Argonautica as “dark epic” calls up a different visuality, one centred on darkness, fantasy and horror.7 In this chapter I re-examine gaze and vision in Apollonius by thinking about the difference between the explorers’ gaze and 1 See also Kampakoglou, this volume. On the importance of Apollonius for Virgil, see Nelis 2001. Apollonius in Lucan: Murray 2011; in Valerius (two recent interventions): Finkmann 2014, Seal 2014; in Claudian: Schindler 2005. -
ARGONAUTIKA the VOYAGE of JASON and the ARGONAUTS March 20–May 5, 2019
THE S. MARK TAPER FOUNDATION PRESENTS A NOISE WITHIN’S REPERTORY THEATRE SEASON STUDY GUIDE Mary Zimmerman’s ARGONAUTIKA THE VOYAGE OF JASON AND THE ARGONAUTS March 20–May 5, 2019 Pictured: Erika Soto. Photo by Craig Schwartz. STUDY GUIDES FROM A NOISE WITHIN A rich resource for teachers of English, reading, arts, and drama education. Dear Reader, We’re delighted you’re interested in our study guides, designed to provide a full range of information on our plays to teachers of all grade levels. A Noise Within’s study guides include: • General information about the play (characters, synopsis, timeline, and more) • Playwright biography and literary analysis • Historical content of the play • Scholarly articles • Production information (costumes, lights, direction, etc.) • Suggested classroom activities • Related resources (videos, books, etc.) • Discussion themes • Background on verse and prose (for Shakespeare’s plays) Our study guides allow you to review and share information with students to enhance both lesson plans and pupils’ theatrical experience and appreciation. They are designed to let you extrapolate articles and other information that best align with your own curricula and pedagogic goals. More information? It would be our pleasure. We’re here to make your students’ learning experience as rewarding and memorable as it can be! All the best, Alicia Green DIRECTOR OF EDUCATION Pictured: Geoff Elliott, Man of La Mancha, 2017. PHOTO BY CRAIG SCHWARTZ. Lead Sponsors TABLE OF CONTENTS Dick and Sally Roberts Character Map ......................................4 Special thanks to our Dinner On Stage donors who kept the arts thriving this year by Synopsis ...........................................6 supporting our Student Matinees (SMATs): About the Author: Apollonius of Rhodes ................. -
[PDF]The Myths and Legends of Ancient Greece and Rome
The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia -
Ancient Greece Figurative Language
Ancient Greece Figurative Language Table of Contents Ancient Greece Figurative Language ...................................................................................... 1 1. Achilles' Heel .........................................................................................................................2 2. Adonis ...................................................................................................................................2 3. Amazon .................................................................................................................................2 4. Beware of Greeks Bearing Gifts ..............................................................................................3 5. Blow Hot and Cold .................................................................................................................3 6. Call a Spade a Spade ..............................................................................................................3 7. Caught Between a Rock and a Hard Place ...............................................................................3 8. Chaos/Chaotic .......................................................................................................................3 9. Cuckoo Land ..........................................................................................................................3 10. Cry Wolf ............................................................................................................................4 11. Dog as Man's Best -
An Online Textbook for Classical Mythology
Utah State University DigitalCommons@USU Textbooks Open Texts 2017 Mythology Unbound: An Online Textbook for Classical Mythology Jessica Mellenthin Utah State University Susan O. Shapiro Utah State University, [email protected] Follow this and additional works at: https://digitalcommons.usu.edu/oer_textbooks Recommended Citation Mellenthin, Jessica and Shapiro, Susan O., "Mythology Unbound: An Online Textbook for Classical Mythology" (2017). Textbooks. 5. https://digitalcommons.usu.edu/oer_textbooks/5 This Book is brought to you for free and open access by the Open Texts at DigitalCommons@USU. It has been accepted for inclusion in Textbooks by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Mythology Unbound: An Online Textbook for Classical Mythology JESSICA MELLENTHIN AND SUSAN O. SHAPIRO Mythology Unbound by Susan Shapiro is licensed under CC-BY-NC-SA 4.0 Contents Map vii Aegis 1 Agamemnon and Iphigenia 5 Aphrodite 9 Apollo 15 Ares 25 The Argonauts 31 Artemis 41 Athena 49 Caduceus 61 Centaurs 63 Chthonian Deities 65 The Delphic Oracle 67 Demeter 77 Dionysus/Bacchus 85 Hades 97 Hephaestus 101 Hera 105 Heracles 111 Hermes 121 Hestia 133 Historical Myths 135 The Iliad - An Introduction 137 Jason 151 Miasma 155 The Minotaur 157 The Odyssey - An Introduction 159 The Oresteia - An Introduction 169 Origins 173 Orpheus 183 Persephone 187 Perseus 193 Poseidon 205 Prometheus 213 Psychological Myths 217 Sphinx 219 Story Pattern of the Greek Hero 225 Theseus 227 The Three Types of Myth 239 The Twelve Labors of Heracles 243 What is a myth? 257 Why are there so many versions of Greek 259 myths? Xenia 261 Zeus 263 Image Attributions 275 Map viii MAP Aegis The aegis was a goat skin (the name comes from the word for goat, αἴξ/aix) that was fringed with snakes and often had the head of Medusa fixed to it. -
Jason & the Golden Fleece
TEACHER’S GUIDE TEACHER’S GUIDE TEACHER’S GUIDE Discussion Questions Suggested Internet Resources • Why does King Aeson choose Chiron as his child’s mentor? Periodically, Internet Resources are updated on our Web site at • List the magical help that Jason receives before and during his quest. www.LibraryVideo.com Why is he favored by the Olympian gods? • www.mcli.dist.maricopa.edu/smc/journey • How does Jason obtain a crew for the Argo? Why do you think so many This site allows you to create your own heroic adventure and explore people were willing to join him on an impossible quest? classic mythological story structure. • Would Jason have been able to accomplish his quest without the help • www.bulfinch.org/fables/bull17.html from Medea? Discuss your answers. Read the classic tales of Greek mythology, descriptions of individual heroes and monsters, and even the crew list of heroes aboard the Argonaut. • What purpose would stories about a hero’s quest like this one serve the ancient Greeks? • www.pantheon.org “Encyclopedia Mythica” supplies definitions, images, and pronunciation Follow-up Activities guides for gods and heroes. • Have students read a different version of Jason’s adventures. Use Suggested Print Resources www.mythweb.com for an animated retelling. Chart similarities and JASON & THE GOLDEN FLEECE • D’Aulaire, Ingri and Edgar Parin D’Aulaire. Ingri and Edgar Parin differences between the versions. D’Aulaire’s Book of Greek Myths. Doubleday, Garden City, NY; 1962. One • Jason is characteristically portrayed as a mortal hero fighting and of the best-loved classical collections of Greek mythology. -
Hesiod, the Poems and Fragments (8Thc Bc)
Hesiod_0606 10/14/2005 05:13 PM THE ONLINE LIBRARY OF LIBERTY © Liberty Fund, Inc. 2005 http://oll.libertyfund.org/Home3/index.php HESIOD, THE POEMS AND FRAGMENTS (8THC BC) URL of this E-Book: http://oll.libertyfund.org/EBooks/Hesiod_0606.pdf URL of original HTML file: http://oll.libertyfund.org/Home3/HTML.php?recordID=0606 ABOUT THE AUTHOR The early Greek poet Hesiod is credited with the invention of didactic poetry around 700 B.C. His surviving works are the Theogony, relating to the stories of the gods, and the Works and Days, relating to peasant life. Hesiod’s poetry includes passages critical of those aristoi who support themselves on the labors of others rather than through their own exertions. ABOUT THE BOOK A collection of Hesiod’s poems and fragments, including Theogony which are stories of the gods, and the Works and Days which deals with peasant life. THE EDITION USED The Poems and Fragments done into English Prose with Introduction and Appendices by A.W. Mair M.A. (Oxford: Clarendon Press, 1908). COPYRIGHT INFORMATION The text of this edition is in the public domain. FAIR USE STATEMENT This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit. http://oll.libertyfund.org/Home3/EBook.php?recordID=0606 Page 1 of 163 Hesiod_0606 10/14/2005 05:13 PM _______________________________________________________ TABLE OF CONTENTS PREFACE INTRODUCTION I. -
Greek Mythology in English Literature Harry Potter's Greek Connection
25 Greek Mythology in English Literature Harry Potter’s Greek Connection A Study of the Influence of Greek Mythology in J K Rowling’s Harry Potter Series of Books Sugandha Indulkar Ancient Greeks were people of exceptional wisdom and foresight so much so that thousands of years later too, in an age of computers, mobile phones and space travel we can see the impact of their mythology on various phenomena from daily life. Their influence on fiction and creative writing seems to be endless. J K Rowling’s popular Harry Potter series of books draws immensely from ancient Greek mythology in characterisation, plot, theme, animals or imaginary creatures and various other aspects. This paper strives to trace as many parallels as possible in an attempt to decode the success value and appeal ancient Greek mythology holds for the present day reader. Myth and Mythology To begin with one needs to discuss what is myth and mythology. In classical Greek, ‘mythos’ signified any story or plot, whether true or invented. In its central modern significance however, a myth is one story in a mythology - a system of stories of ancient origin which aimed to determine why the world is as it is and things happen as they do, to provide a rationale for social customs and observances, and to establish sanctions for the rules by which people conduct their lives. Most myths are related to social rituals - set forms and procedures in sacred ceremonies but anthropologists disagree whether rituals generated myths or myths generated rituals. A number of modern writers have also asserted that an integrative mythology, whether inherited or invented, is essential to literature.