INTRODUCTION to the KORE Story/Persephone’S Dog
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Poison King: the Life and Legend of Mithradates the Great, Rome's
Copyrighted Material Kill em All, and Let the Gods Sort em Out IN SPRING of 88 BC, in dozens of cities across Anatolia (Asia Minor, modern Turkey), sworn enemies of Rome joined a secret plot. On an appointed day in one month’s time, they vowed to kill every Roman man, woman, and child in their territories. e conspiracy was masterminded by King Mithradates the Great, who communicated secretly with numerous local leaders in Rome’s new Province of Asia. (“Asia” at this time referred to lands from the eastern Aegean to India; Rome’s Province of Asia encompassed western Turkey.) How Mithradates kept the plot secret remains one of the great intelli- gence mysteries of antiquity. e conspirators promised to round up and slay all the Romans and Italians living in their towns, including women and children and slaves of Italian descent. ey agreed to confiscate the Romans’ property and throw the bodies out to the dogs and crows. Any- one who tried to warn or protect Romans or bury their bodies was to be harshly punished. Slaves who spoke languages other than Latin would be spared, and those who joined in the killing of their masters would be rewarded. People who murdered Roman moneylenders would have their debts canceled. Bounties were offered to informers and killers of Romans in hiding.1 e deadly plot worked perfectly. According to several ancient histo- rians, at least 80,000—perhaps as many as 150,000—Roman and Italian residents of Anatolia and Aegean islands were massacred on that day. e figures are shocking—perhaps exaggerated—but not unrealistic. -
Handbook of Panpsychism
THE ROUTLEDGE HANDBOOK OF PANPSYCHISM “This book provides a rich and novel discussion of one of the most exciting (and hardest) issues in philosophy, namely the nature of consciousness, by taking seriously panpsychism. It contains a large variety and number of quality contributions, both from a historical and a contemporary perspective, which makes it a book of reference indispensable for anyone interested in the field. A great read and an inspiring contribution to the philosophical debate about the nature of consciousness.” Jiri Benovsky, University of Fribourg, Switzerland “The rise to prominence of panpsychism is a response to a growing disillusionment with orthodox physicalism. If you want to know the history, strengths and weaknesses of this surprising revival of an ancient metaphysics, this wide-ranging collection is an excellent place to start.” Howard Robinson, Central European University, Hungary Panpsychism is the view that consciousness – the most puzzling and strangest phenomenon in the entire universe – is a fundamental and ubiquitous feature of the world, though in a form very remote from human consciousness. At a very basic level, the world is awake. Panpsychism seems implausible to most, and yet it has experienced a remarkable renaissance of interest over the last quarter century. The reason is the stubbornly intractable problem of consciousness. Despite immense progress in understanding the brain and its relation to states of consciousness, we still really have no idea how consciousness emerges from physical processes which are presumed to be entirely non-conscious. The Routledge Handbook of Panpsychism provides a high-level comprehensive examination and assessment of the subject – its history and contemporary development. -
Names of Botanical Genera Inspired by Mythology
Names of botanical genera inspired by mythology Iliana Ilieva * University of Forestry, Sofia, Bulgaria. GSC Biological and Pharmaceutical Sciences, 2021, 14(03), 008–018 Publication history: Received on 16 January 2021; revised on 15 February 2021; accepted on 17 February 2021 Article DOI: https://doi.org/10.30574/gscbps.2021.14.3.0050 Abstract The present article is a part of the project "Linguistic structure of binomial botanical denominations". It explores the denominations of botanical genera that originate from the names of different mythological characters – deities, heroes as well as some gods’ attributes. The examined names are picked based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012. The names of the plants are arranged in alphabetical order. Beside each Latin name is indicated its English common name and the family that the particular genus belongs to. The article examines the etymology of each name, adding a short account of the myth based on which the name itself is created. An index of ancient authors at the end of the article includes the writers whose works have been used to clarify the etymology of botanical genera names. Keywords: Botanical genera names; Etymology; Mythology 1. Introduction The present research is a part of the larger project "Linguistic structure of binomial botanical denominations", based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012 [1]. The article deals with the botanical genera appellations that originate from the names of different mythological figures – deities, heroes as well as some gods’ attributes. According to ICBN (International Code of Botanical Nomenclature), "The name of a genus is a noun in the nominative singular, or a word treated as such, and is written with an initial capital letter (see Art. -
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. -
An Engraved Carnelian Gem from Nysa-Scythopolis (Bet She’An)
‘Atiqot 71, 2012 An EngrAvEd CArnEliAn gEm from nysA-sCythopolis (BEt shE’An) gabriEl mAzor The western therma, located on a wide plateau Red carnelian. in the western part of the Roman civic center of Design engraved (intaglio), excellent work- Nysa-Scythopolis (Bet She’an), was concealed manship. by a thick, unstratified accumulation of earth Perfectly preserved, except for a minor chip on and debris. The fill, presumably washed down upper left edge. from the adjacent western hill, had gradually covered the floors of the complex after its Obverse: A nude male figure stands above a destruction in the earthquake of 749 CE. An thick horizontal ground line, facing right, left intact carnelian gemstone was revealed within leg bent forward while the right one is straight, the fill, along with an assortment of pottery and leaning slightly forward. Both hands are raised, coins from the Roman and Byzantine periods. gripping the neck of a lion in an attempt to The gem, originally set in a ring, depicts strangle it. The man’s head, supported by a Heracles in a scene of one of his labors: the thick neck, faces right; his facial features are overcoming of the Nemean lion. blurred, although he seems to be bearded with long, curly hair. The figure is heavy, extremely muscular, and depicted in a sturdy posture, dEsCription its legs forming a balanced triangle. Engaged L101161; B101 × 1407 (elevation -148.44 m) in a combat stance, a rearing, rampant lion Oval (12 × 9 mm, Th 2.5 mm; Fig. 1);1 upper attacks him, facing left. -
Clas109.04 Rebirth Demeter & Hades
CLAS109.04 REBIRTH M Maurizio ch.4.1 HISTORY—Homeric Hymn to Demeter before class: skim HISTORY context; refer to leading questions; focus on ancient texts Active Reading FOCUS • H.Hom.2 & Plut.Mor. cf. CR04 H.Hom.Cer. G. Nagy trans. (Maurizio p.163‐174 is fine) use CR04 Plutarch Moralia: Isis & Osiris 15‐16 (Plut.Mor.357A‐D) NB read for one hour, taking notes (fill in worksheets) RAW notes & post discussion question @11h00 W Maurizio ch.4.3 COMPARE—In the Desert by the Early Grass before class: skim COMPARE context; refer to leading questions; focus on ancient text Active Reading FOCUS • Early Grass (edin‐na u2 saĝ‐ĝa2‐ke4) use CR04 Jacobsen 1987 translation (Maurizio p.188‐194 is NOT fine) NB read for one hour, taking notes; finish previous as necessary RAW notes & post discussion question @12h00 F Maurizio ch.4.2 THEORY—Foley 1994 before class: skim also modern 4.4 RECEPTION paragraph synopsis of Foley, H. 1994. “Question of Origins.” Womens Studies 23.3:193‐215 NB read for one hour, practice summarizing; finish previous as necessary tl; dr & post discussion responses @11h00 Q04 • QUOTE QUIZ Gen.6‐11, Aesch.Prom., H.Hom.Cer., Plut.Mor.357A‐D; Early Grass FINAL notes @23h59 DRAFT 01 @23h59 • following guidelines DEMETER & HADES How does myth represent the natural world (e.g. pre‐scientific explanation)? How does myth represent religious ritual? How does myth represent social order? Homeric Hymn to Demeter1 G. Nagy 1 I begin to sing of Demeter, the holy goddess with the beautiful hair. -
The Divinity of Hellenistic Rulers
OriginalverCORE öffentlichung in: A. Erskine (ed.), A Companion to the Hellenistic World,Metadata, Oxford: Blackwell citation 2003, and similar papers at core.ac.uk ProvidedS. 431-445 by Propylaeum-DOK CHAPTKR TWENTY-FIVE The Divinity of Hellenistic Rulers Anßdos Chaniotis 1 Introduction: the Paradox of Mortal Divinity When King Demetrios Poliorketes returned to Athens from Kerkyra in 291, the Athenians welcomed him with a processional song, the text of which has long been recognized as one of the most interesting sources for Hellenistic ruler cult: How the greatest and dearest of the gods have come to the city! For the hour has brought together Demeter and Demetrios; she comes to celebrate the solemn mysteries of the Kore, while he is here füll of joy, as befits the god, fair and laughing. His appearance is majestic, his friends all around him and he in their midst, as though they were stars and he the sun. Hail son of the most powerful god Poseidon and Aphrodite. (Douris FGrH76 Fl3, cf. Demochares FGrH75 F2, both at Athen. 6.253b-f; trans. as Austin 35) Had only the first lines of this ritual song survived, the modern reader would notice the assimilaüon of the adventus of a mortal king with that of a divinity, the etymo- logical association of his name with that of Demeter, the parentage of mighty gods, and the external features of a divine ruler (joy, beauty, majesty). Very often scholars reach their conclusions about aspects of ancient mentality on the basis of a fragment; and very often - unavoidably - they conceive only a fragment of reality. -
Mechanical Miracles: Automata in Ancient Greek Religion
Mechanical Miracles: Automata in Ancient Greek Religion Tatiana Bur A thesis submitted in fulfillment of the requirements for the degree of Master of Philosophy Faculty of Arts, University of Sydney Supervisor: Professor Eric Csapo March, 2016 Statement of Originality This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Tatiana Bur, March 2016. Table of Contents ACKNOWLEDGMENTS ....................................................................................................... 1 A NOTE TO THE READER ................................................................................................... 2 INTRODUCTION ................................................................................................................ 3 PART I: THINKING ABOUT AUTOMATION .......................................................................... 9 CHAPTER 1/ ELIMINATING THE BLOCAGE: ANCIENT AUTOMATA IN MODERN SCHOLARSHIP ................. 10 CHAPTER 2/ INVENTING AUTOMATION: AUTOMATA IN THE ANCIENT GREEK IMAGINATION ................. 24 PART II: AUTOMATA IN CONTEXT ................................................................................... 59 CHAPTER 3/ PROCESSIONAL AUTOMATA ................................................................................ -
Enchantment and the Mechanical: an Autoethnographic Inquiry Into Leadership Framed Within a Cosmic and Ecological Story
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Riddiford, Jane (2016) Enchantment and the mechanical: an autoethnographic inquiry into leadership framed within a cosmic and ecological story. PhD thesis, Middlesex University / Ashridge Business School. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/21308/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
The Religious Life of Greek Automata 129
ClaraBosak-Schroeder The Religious LifeofGreek Automata This paper examines the religious livesofGreek automata. An automaton is an object that has been constructed to moveonits own.¹ Iargue thatancient Greek automata at first had asolelymagical life, later attained amechanicallife, and that this change from magical to mechanical allowed automata to proliferate in religious contexts. While automata wereoriginallyimagined as purelymagical, the advent of advanced mechanics later in antiquity made it possiblefor automata to be realized and also caused Greeks in the Hellenistic and Romanagestoreinterpret magical automata as mechanical. Later Greeks’ projection of mechanicalknowledge onto the magical automata of the past mirrors twentieth and twenty-first century scholars’ tendency to reinterpret ancient automata as “robots” in line with technological advances in their own time.Changes in mechanics in antiquity and the response of people to those changes leads me to advancethe concept of “relative modernism.” Iargue that modernism is amind-set that recurs throughout history rather than one that emergesinauniqueperiod of history. From MagictoMechanics In common parlance, an automaton is aself-moving or self-operatingmachine.In historical and literarystudies, “automaton” is used especiallytodesignatethose self-operating machinesthat were created before the twentieth century.These in- clude Leonardo da Vinci’sfifteenth-century “mechanical knight,” Jacques de Vau- canson’seighteenth-century “digesting duck,” and the manyclock-work dolls, ani- mals, and music boxesofthe nineteenth century.² Though no automata survive from classical antiquity,wedohaveancienttexts that describe them.³ The oldest of these appearinHomer’s Iliad. In Il. 18, Thetis enters Hephaestus’ workshop to commission new armorfor Achilles, and finds the godalreadyhard at his character- istic work: [Hephaestus] was makingtripods,twenty in all, to stand around the sides of his wellbuilthall, and below the base of each one he set golden wheels so that of their own accord[automatoi] LSJ, s.v. -
Homer's Use of Myth Françoise Létoublon
Homer’s Use of Myth Françoise Létoublon Epic and Mythology The Homeric Epics are probably the oldest Greek literary texts that we have,1 and their subject is select episodes from the Trojan War. The Iliad deals with a short period in the tenth year of the war;2 the Odyssey is set in the period covered by Odysseus’ return from the war to his homeland of Ithaca, beginning with his departure from Calypso’s island after a 7-year stay. The Trojan War was actually the material for a large body of legend that formed a major part of Greek myth (see Introduction). But the narrative itself cannot be taken as a mythographic one, unlike the narrative of Hesiod (see ch. 1.3) - its purpose is not to narrate myth. Epic and myth may be closely linked, but they are not identical (see Introduction), and the distance between the two poses a particular difficulty for us as we try to negotiate the the mythological material that the narrative on the one hand tells and on the other hand only alludes to. Allusion will become a key term as we progress. The Trojan War, as a whole then, was the material dealt with in the collection of epics known as the ‘Epic Cycle’, but which the Iliad and Odyssey allude to. The Epic Cycle however does not survive except for a few fragments and short summaries by a late author, but it was an important source for classical tragedy, and for later epics that aimed to fill in the gaps left by Homer, whether in Greek - the Posthomerica of Quintus of Smyrna (maybe 3 c AD), and the Capture of Troy of Tryphiodoros (3 c AD) - or in Latin - Virgil’s Aeneid (1 c BC), or Ovid’s ‘Iliad’ in the Metamorphoses (1 c AD). -
Analyzing Two Domains of Dionysus in Greek Polytheism
Philomathes Two Sides of the Dice: Analyzing Two Domains of Dionysus in Greek Polytheism T he study of religion in ancient Greece is complicated by the fact that, unlike modern world religions with ancient roots, there is no “holy doctrine” to which scholars can refer. Although they shared a complex pantheon of gods, ancient Greek city- states were never a unified political empire; instead of a globalized dogma, religion was localized within each polis, whose inhabitants developed their own unique variations on “Greek” religious rituals and beliefs.1 The multiplex natures of ancient Greek gods compounds the problem; it is a monumental task to study all aspects of all deities in the Greek world. As a result, scholarship often focuses solely on a single popular aspect or well-known cult of a god or goddess — such as Apollo Pythios of Delphi or Athena Parthenos of Athens, neglecting other facets of the gods’ cult and personality.2 Greek religion, 1 As Jon D. Mikalson states in Athenian Popular Religion (Chapel Hill, NC: University of North Carolina Press, 1983), 4, “In varying degrees Sparta, Corinth, Thebes, Athens and the other city-states differed from one another in political, social, and economic structure, and it is only reasonable to assume that they also differed in some extent in their religion … One should be wary of assuming that a religious belief or practice must have been current in all the city-states and among all Greek simply because it is attested for one city-state.” 2 Apollo is generally remembered as the god of prophecy because of his oracle and cult in Delphi.