Why the Planets of Beta Canum Didn't Get Any Names

Total Page：16

File Type：pdf, Size：1020Kb

Why the Planets of Beta Canum Didn't Get Any Names

How the Planets of Beta Canum Didn’t Get Their Names Official Name French German Muret Beta Canum 1 Neleus Alcis (Rauzaz) Simone Beta Canum 2 Chloris Alcis (Raftaz) Brigitte Beta Canum 3 Tectamus Wulthus Pamela Beta Canum 4 Europa Nerthus Suzann Beta Canum 5 Rhadamanthus Woden Karine Beta Canum 6 Minos Tiw Anna Beta Canum 7 Sarpedon Donar Jacqueline Beta Canum 8 Zeus Fullo Sophie Many visitors wonder what names the planets in the Beta Canum system have and are often astounded when told that they are named Beta Canum 1, 2, 3, … The reason is (of course) human quarrelsomeness and nationalism. When the system was first visited in 2181 the captain of the French squadron, Captain Aristide Muret claimed his right to name the planets. He named them after his girlfriends. Upon returning to Earth his superiors were dismayed by this ‘frivolous’ act. They regarded the names as “suggestions” and replaced them with a new official list (based on the family of the mythical king Asterion, another name for the star). Meanwhile the ARI had set up shop in the system and got wind of the controversy, so in 2182 they "corrected" the names as part of their extensive survey package they sent back. The contradictory schemes caused a quarrel in ESA. Neither the French nor the Bavarians would budge. Eventually the British and Azanians asked the IAU to mediate. It tried weakly to reach an agreement but refused to take a side or give a counterproposal. Eventually it decided to give everything numerical names "until the co-discoverers can reach an agreement". 140 years later that has still not happened. In the system people tend to use names depending on nationality. The French use the Asterion set, the Germans the Teutonic set, the English whatever suits them. When misunderstanding could be troublesome (like in traffic control) the official names are used. Unofficially many locals – regardless of nationality - use Captain Muret's names. They like to live on Suzann rather than BC4. .

Copy Link

Recommended publications

Waiting for Redemption in the House of Asterion: a Stylistic Analysis
Open Journal of Modern Linguistics 2012. Vol.2, No.2, 51-56 Published Online June 2012 in SciRes (http://www.SciRP.org/journal/ojml) http://dx.doi.org/10.4236/ojml.2012.22007 Waiting for Redemption in The House of Asterion: A Stylistic Analysis Martin Tilney Macquarie University, Sydney, Australia Email: [email protected] Received February 20th, 2012; revised March 7th, 2012; accepted March 15th, 2012 The House of Asterion is a short story by Jorge Luis Borges that retells the classical myth of the Cretan Minotaur from an alternate perspective. The House of Asterion features the Minotaur, aka Asterion, who waits for “redemption” in his labyrinth. Many literary critics have suggested that the Borgesian labyrinth is a metaphor for human existence and the universe itself. Others have correctly interpreted Asterion’s ironic death at the hands of Theseus as his eagerly awaited redemption. Borges’ subversion of the reader’s expectations becomes the departure point for a systemic functional stylistic analysis of the story in one of its English translations, revealing how deeper-level meanings in the text are construed through its lexico- grammatical structure. A systemic functional stylistic reading suggests that on a higher level of reality, Asterion’s redemption is not only the freedom that death affords, but also a transformation that transcends his fictional universe. Asterion’s twofold redemption is brought about not only by the archetypal hero Theseus but also by the reader, who through the process of reading enables Asterion’s emancipation from the labyrinth. Keywords: The House of Asterion; Borges; Minotaur; Labyrinth; Systemic Functional; Stylistic Introduction the latter half of the twentieth century (for a detailed discussion of the difference between the terms “postmodernity” and Argentinean writer Jorge Luis Borges (1899-1986) is best “postmodernism” see Hassan, 2001).
[Show full text]
"A Mighty Maze! Without a Plan" Cosmological
"A MIGHTY MAZE! BUT NOT WITHOUT A PLAN" COSMOLOGICAL INTERPRETATIONS OF THE LABYRINTH Vahtang Hark Shervashidze, Master of Arts <Hons. l, Science and Technology Studies, 1989 A.H.D.G. Expa.tia.te free o'er all this scene of Man; A mighty maze! but not without a plan; A viId, where weeds and flowers promiscuous shoot j Or garden, tempting with forbidden fruit. Alexander Pope, An Essay on Man, 1,5-8. I hereby declare that this submission is my own work and that, to the best of my know ledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institute of higher learning, except where due acknowledgement is made in the text. Vahtang Mark Shervashidze 1 ABSTRACT The history of the labyrinth in Western thought is intimately connected with the development of Christianity and the philosophical movements associated with it. Roughly speaking, the labyrinth has passed through three periods of development. First, there were the Minoan and Greek sources of the Theseus cycle, which are the foundation of 1abyrinth-1 ore. The Greeks also provided the analogical structure which allowed the labyrinth to expand its repertoire of metaphor beyond mythology into literature. Secondly, perhaps due to the renascence of classical literature in the eleventh and twelfth centuries, the labyrinth enjoyed some popularity in France and Italy. Here we must distinguish between purely conceptual, literary labyrinths and the artifactual examples which dot cathedral and church floors across the lie de France and Italy.
[Show full text]
The Other World in BR Collins' Game Runner
The Other World in B.R. Collins’ Game Runner (2011) By Fateha Aziz In Game Runner (2011), the alternative world existing parallel to the primary world takes the shape of a virtual reality, simulated by a computer into an immersive multimedia. Game Runner comes from a long, diverse line of children’s books featuring the virtual gamespace; for example, Raymond Abrashkin and Jay William’s Danny Dunn, Invisible Boy (1974), Gillian Rubinstein’s Space Demons (1986), and one that I know well is Terry Pratchett’s Only You Can Save Mankind (1992), where the protagonist goes into the game to save the aliens instead of shooting them. Interestingly, both Space Demons and OYCSM use virtual reality and gamespace to examine the issue of war, and although Game Runner is not on war, Rick still engages in one-to-one combat, and like almost all games, the notion that all other players and the game itself are your adversaries is maintained. You have to keep fighting to keep winning and this also contributes to that sense of being immersed in the game. My point is that, the game, or rather the advanced technology in game software has enabled the creation of another world as well as another party to interact with, so much so that Rick is completely immersed in it. Marie-Laure Ryan, in an article on virtual reality writes that the user of a VR system interacts with a world that is experienced as existing autonomously because this world is accessible to many senses, particularly to the sense of touch… As a relation involving the body, the interactivity of VR immerses the user in an [sic] world already in place; as a process involving the mind, it turns the user’s relation to this world into a creative membership.
[Show full text]
Anthropogenic Global Warming As a Retelling of the Myth of Pasiphaë
Is this the dawning of the Age of Asterion? Anthropogenic Global Warming as a Retelling of the Myth of Pasiphaë ‘As far as we can discern, the sole purpose of human existence is to kindle a light in the darkness of mere being.’ (Carl Jung) Myth has been defined in the works of the great anthropologist Joseph Campbell as that which coordinates the human individual to their own life and to the society with which they live, and which coordinates both the individual and the collective to the environment- this ‘darkness of mere being’ in which we find ourselves.1 Confronted with this darkness, humanity is driven to tell stories through which we create meaning: stories that help transform the chaos of the universe into order and replace its implacable, illimitable, indifference with a human face. Through myth, we seek to reduce the universe to something that can be encompassed by our human intellect. Clearly, the narrative of anthropogenic global warming fulfills the functions of a myth. It brings order to the chaotic sense impressions provided by the universe, it gives meaning to the actions of the individual within the context of their environment, and it provides a focus for collective action to give cohesion to society. It can be argued that there is no such thing as a ‘new myth’, only a continual re-telling of archetypal stories; and without necessarily endorsing this argument, the goal of this essay is to consider the anthropogenic global warming myth as a manifestation in the 21st century of one of the most multi-layered and ancient myths of Western civilisation, the story of Pasiphaë, Queen of Crete and daughter of the Sun, and the white bull of Poseidon.2,3 The version of the myth that has come down to us from the Greeks begins on familiar territory: an insult delivered by human authority figures to the anthropomorphised forces of climate.
[Show full text]
King Minos Reemerging in the U.S
Ancient Archetype King Minos Reemerging in the U.S. Psyche Katherine Bailes, JD PhD • Review the mythic character of King Minos • Identify the results of his “refusal of the call to adventure” in Campbell’s monomyth, including substitution in the rituals of sacrifice and regicide Objectives • Investigate other characters related to the King and his story • Observe the archetypal energy of the story and where it might appear in our political environment today Crete • The Minoan culture located on what is now known as the Island of Crete, was one of art and beauty. • During 3,000 – 1,500 BCE there were populated and rich palace-centered communities. • There is archeological evidence of a goddess centered religion valuing such characteristics as floral decoration, music, dance and cyclic rituals. • The character of King Minos appeared from outside the culture, in later stories from the Greeks that lent a more masculine element, including battles, heroes, monster- slaying and vast merchant navies. • Various historians such as Apollodorus and Plutarch, referred to Minos as a King of Crete and he was later portrayed as such in classical art, theater and poetry. Europa: mother of Minos • Princess Europa was the daughter of the Phoenician king, Agenor. • She was seduced by Zeus in the form of a snow white bull and brought across the sea to the island of Crete. Ovid’s Metamorphoses Book 2, 846-875. • Here we are introduced to the divine symbol of the snow white bull, beautiful enough to seduce a young woman, and the fragile beauty of the princess succumbing. • Once deposited in Crete, Europa had three sons by Zeus, including Minos, who were raised by their step-father, Asterion (the name later given to the minotaur).
[Show full text]
THE ENDURING GODDESS: Artemis and Mary, Mother of Jesus”
“THE ENDURING GODDESS: Artemis and Mary, Mother of Jesus” Carla Ionescu A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN HUMANITIES YORK UNIVERSITY TORONTO, ONTARIO May 2016 © Carla Ionescu, 2016 ii Abstract: Tradition states that the most popular Olympian deities are Apollo, Athena, Zeus and Dionysius. These divinities played key roles in the communal, political and ritual development of the Greco-Roman world. This work suggests that this deeply entrenched scholarly tradition is fissured with misunderstandings of Greek and Ephesian popular culture, and provides evidence that clearly suggests Artemis is the most prevalent and influential goddess of the Mediterranean, with roots embedded in the community and culture of this area that can be traced further back in time than even the arrival of the Greeks. In fact, Artemis’ reign is so fundamental to the cultural identity of her worshippers that even when facing the onslaught of early Christianity, she could not be deposed. Instead, she survived the conquering of this new religion under the guise of Mary, Mother of Jesus. Using methods of narrative analysis, as well as review of archeological findings, this work demonstrates that the customs devoted to the worship of Artemis were fundamental to the civic identity of her followers, particularly in the city of Ephesus in which Artemis reigned not only as Queen of Heaven, but also as Mother, Healer and Saviour. Reverence for her was as so deeply entrenched in the community of this city, that after her temple was destroyed, and Christian churches were built on top of her sacred places, her citizens brought forward the only female character in the new ruling religion of Christianity, the Virgin Mary, and re-named her Theotokos, Mother of God, within its city walls.
[Show full text]
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).
[Show full text]
Resonay PDF Specimen
Resonay PDF Specimen Resonay A LAYER FONT RESHAPING HERITAGE OF ANTI�UE LETTERINGS 30 vivacious and calligraphic fonts by Andrej Dieneš www.TypeMates.com www.TypeMates.com © Andrej Dieneš, TypeMates. 02.2021 1 / 14 Resonay Specimen PDF Specimen Plans of Zeus Other parts of the war are described in a cycle of epic poems THE BRONCE AGE Roman infantry carried a spear or other type of pole weapon Gaius Julius Caesar Dionysos Poseidon † Herakles Demeter ☟ Apollon g 0123456789 www.TypeMates.com © Andrej Dieneš, TypeMates. 02.2021 KK2 / 14 Resonay Information PDF Specimen Resonay About Resonay, a layer font reshaping heritage of antique Resonay is a layer font. Start with Resonay Base letterings by Andrej Dieneš. and overlay Resonay Cover to play with colour, Resonay’s a vivacious layer font that takes classical opacity and gradients. Alternatively, for smaller siz- lettering somewhere new. Combining elegant de- es or a robust texture, Resonay Solid combines the tails from stone carving with the flow of calligra- two layers into one. As all three layers are perfectly phy, a sharp attitude with exuberant bézier curves, synchronised, you can combine and recombine Resonay is suitable for logotypes and refined them to emphasise different facets of your text. display setting. Enriched with swashes, titling al- A fully-featured display font, Resonay has all ternates and a broad range of decorative ligatures, the OpenType features you need for ambitious ty- Resonay brings expression and poetry to headlines. pography. As well as a variety of figure styles, there Attentive to setting titles in a classical fashion, are small caps and capitals-to-small-caps features.
[Show full text]
ANTIQUITY and WE Introduction Katarzyna Marciniak, from the Antiquity and We OBTA and Civilizational Studies
Antiquity and We at the Centre for Studies on the Classical Tradition (OBTA) ANTIQUITY At the same time, thanks to Professor Kazimierz Kumaniecki and Professor Lidia Win- niczuk [...], a certain ideological message got through to us. It was not enunciated explicitly, but rather implicitly. It was the conviction that the reception of ancient tradition was a living part of Polish collective memory and a marker of its transformations; that being aware AND WE of that tradition authorized and obliged us to speak and think of Poland and its place within Mediterranean civilization. Jerzy Axer, from Antiquity and We – The Perspective of the Period of Transformation ANTIQUITY AND WE The Humanities are always about the future of man, which he himself is not able to create without reaching to the resources generated in the past. Interdisciplinariness is getting to know the process in practice. The dialogic character of the Humanities also begins here. As an exer- cise in dialogue, OBTA perfectly fits my vision of the role that we are to play in society. Jan Kieniewicz, from OBTA and Civilizational Studies. Experiences and Prospects [...] reception studies view Antiquity as a cultural experience. In consequence, rather than the classical world as such, we examine the images of that world as created in subsequent epochs, in accordance with the assumption that each new deciphering of the classical legacy gives us knowledge about those who make the decoding in the first place. In this way, Classical Anti- quity becomes a reference point for generations, societies, and both small and large groups of culture recipients, wherever Mediterranean Civilization has managed to reach.
[Show full text]
ECORFAN-Journal the Myth As an Intertextual Resource in The
9 Article ECORFAN-Journal December 2016 Vol.2 No.3 9-22 The myth as an intertextual resource in the contemporary Latin American black police novel ACEVEDO-ARANGO, Daniel José†* Universidad Nacional Recived August 4, 2016; Accepted November 23, 2016 ___________________________________________________________________________________________________ Abstract This article seeks to account through three well-known black Latin American police novels of the use that has had the myth as an intertext and how it has served as a point of support to legitimize the literary narrative and connect it with the origins. It analyzes the function that exercises within the text, determined by the need not to give a sense or find a resolution to the Enigma, but to destabilize any scheme or structure of meaning to enhance the uncertainty and distress of the real. The myth also serves here, first, as a tool to resignify the characteristics and the formation of some characters and, second, as a way to enhance the enigma of the classic police and connect it with the space of the sacred. Finally, for Latin American authors, a means of reaffirming an act of resistance against violence, the speeches of power and oblivion Myth, Intertext, Rewrite, Police, Apocalypse, Enigma __________________________________________________________________________________________ Citation: ACEVEDO-Daniel†*. The myth as an intertextual resource in the contemporary Latin American black police novel ECORFAN Journal-Colombia. 2016, 2-3: 9-22 ________________________________________________________________________________________________________ ___________________________________________________________________________________ † Researcher contributing first author. © ECORFAN Journal –Republic of Colombia www.ecorfan.org/republicofcolombia 10 Article ECORFAN-Journal December 2016 Vol.2 No.3 9-22 Introduction The etymology of the word myth tells us that it Therefore, the myth has a facility to take comes from the Greek mythos which means root in the mind and language, because there is a narrative, narration.
[Show full text]
Pseudo-Apollodoros' Bibliotheke and the Greek Mythological Tradition
Pseudo-Apollodoros’Bibliotheke and the Greek Mythological Tradition by Evangelia Kylintirea A thesis submitted in fulfillment of the requirements for the degree of PhD in Classics University College London May 2002 ProQuest Number: 10014985 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10014985 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract Pseudo-Apollodoros’ Bibliotheke is undeniably the most useful single source for the mythical tradition of Greece. Enclosing in a short space a remarkable quantity of information, it offers concise and comprehensive accounts of most of the myths that had come to matter beyond local boundaries, providing its readers with their most popular variants. This study concentrates on the most familiar stories contained in the first book of the Bibliotheke and their proper place in the overall structure of Greek mythology. Chapter One is dedicated to the backbone of Apollodoros’ work: the chronological organisation of Greek mythical history in genealogies. It discusses the author’s individual plan in the arrangement and presentation of his material and his conscious striving for cohesion.
[Show full text]
Chapter 2 Investigates the Extended Catalogue of Curses in Ovid’S Ibis in Relation to Both the Mythographic Tradition and Ovid’S Own Poetic Corpus
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Mythic Recursions: Doubling and Variation in the Mythological Works of Ovid and Valerius Flaccus Permalink https://escholarship.org/uc/item/11r709mb Author Krasne, Darcy Anne Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Mythic Recursions: Doubling and Variation in the Mythological Works of Ovid and Valerius Flaccus by Darcy Anne Krasne A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University Of California, Berkeley Committee in charge: Professor Ellen Oliensis, Chair Professor Anthony Bulloch Professor Christopher Hallett Professor John Lindow Professor Andrew Zissos Spring 2011 Mythic Recursions: Doubling and Variation in the Mythological Works of Ovid and Valerius Flaccus Copyright 2011 by Darcy Anne Krasne 1 Abstract Mythic Recursions: Doubling and Variation in the Mythological Works of Ovid and Valerius Flaccus by Darcy Anne Krasne Doctor of Philosophy in Classics University of California, Berkeley Professor Ellen Oliensis, Chair This dissertation explores the ways Latin poetry reworks the mythological tradition of which it itself is a part. I approach this broad topic primarily from the angle of mythological variation— that is, the competing and sometimes contradictory versions of individual myths which are an inherent component of the Greek and Roman mythological system. In Greece, myths and their variants played an important role in interfacing religion with politics. Through three “case studies” on the works of Ovid and Valerius Flaccus, I demonstrate different ways in which Roman poets, too, could utilize the pluralities of the tradition for their own poetic and political ends.
[Show full text]