Expanding Zeus's Shield
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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. -
1 Rubaiyat Khan 21H.301 Hesiod's Moral Teachings on Living In
1 Rubaiyat Khan 21H.301 Hesiod’s Moral Teachings on Living In Hesiod’s poem “Works and Days”, he explains to his brother how to live a good life. He describes both moral and practical ways of leading life. However, his emphasis lies on the moral teachings rather than the practical ones. One of the overarching themes of his work is the importance of being just in life. Hesiod believes that Zeus and the other almighty immortal Gods punish immoral men and reward moral ones. Therefore, men must not be unjust or unkind to one another. Some of his teachings are clearly moral For example, he mentions the importance of treating one’s parents well multiple times in the poem. Hesiod’s obsession with justice and morality can be inferred from this importance that he places on taking care of ones parents. To him, being disrespectful to ones aging parents is unjust and unfair because parents take care of their children when the children are young and unable to take care of themselves. Thus it is only fair and just to the parents that the children take care of them when they are too old to fend for themselves. Hesiod believes that it is not only justice that Zeus asks of people. He describes other criminal acts that he believes will make Zeus angry. He mentions wickedness, violence, seizing someone else’s property, being ungracious to a guest, adultery and cheating orphans as examples of other crimes that warrant Zeus’ wrath. “But for those who occupy themselves with violence and wickedness and brutal deeds, Kronos’ son, wide-seeing Zeus, marks out retribution. -
Loki's Wolves
educator’s guide curriculum connections D Mythology D Adventure D Friendship Ages 8 to 12 by K. L. Armstrong and M. A. Marr BUILDING BACKGROUND VOCABULARY Who’s Who Exhibit Throughout Loki’s Wolves there are references to many The pantheon of Norse mythology places and events, but they can be difficult to pronounce or may not be as familiar to students understand. Most of the words of Norwegian origin are as Greek gods and monsters, so explained quite clearly by reading context clues. Ask a short research project could students to create a vocabulary guide for future readers help build a foundation for by finding examples of words that may be confusing to understanding Loki’s Wolves. non-Norwegian speakers or people unfamiliar with Norse Creating a “Who’s Who of mythology. Then, have students create a companion Norse Mythology” exhibit is dictionary, defining the words they find. This exercise can an interactive way to prepare be a service to future readers, as well as a way to practice students for reading. Begin with using context clues to understand unknown words. a list of Norse gods, monsters, and creatures for students to research. Then, ask each student (or small groups of WRITING students) to choose one character from the list. They Collaborative Story should complete a short “biography” of the mythological The authors of Loki’s Wolves, K. L. Armstrong and M. A. figure, including a physical description, explanation of any Marr, collaborated on the book, each choosing to write significant connections to other mythological figures, and one or two characters’ points of view. -
Marvel Magic Race Human (0 CP): Good Old Homo Sapiens. Much The
Marvel Magic Race Human (0 CP): Good old homo sapiens. Much the same as they are on pretty much everywhere. Individually they are rather insignificant physically and are generally nothing too impressive mentally or magically either, but earth and humanity play many pivotal roles on both the universal and multiversal scale, often ending up center stage – or right in the eye of the storm. And just because most of them are nothing impressive doesn’t mean that none of them are, as some humans are incredibly formidable even amongst the powerful beings of this world. Demon (200 CP): Demon isn’t a term meant to describe one uniform group of beings. Rather, it encompasses an incredibly diverse range of magical beings. Your appearance is largely up to you, allowing you to appear as anything from living flame to a classical demon with horns and bat wings to basically human or even something more bizarre such as a multi-headed snake. The only restriction is your base size must be between that of a squirrel and an average car. Your nature means that you’re likely to be at least several times stronger than a human as well as having natural talent with magic and more personal power to call on than humans. If you wish, you may instead choose to be the offspring of a demon and a human, with your natural form appearing to be a human but possessing the ability to take on more demoniac features when calling on your power or feeling anger. God (400): Perhaps the decadent gods of Olympus, the fierce warrior deities of Asgard, or perhaps completely alien gods worshipped by beings on other worlds. -
Limits, Malice and the Immortal Hulk
https://lthj.qut.edu.au/ LAW, TECHNOLOGY AND HUMANS Volume 2 (2) 2020 https://doi.org/10.5204/lthj.1581 Before the Law: Limits, Malice and The Immortal Hulk Neal Curtis The University of Auckland, New Zealand Abstract This article uses Kafka's short story 'Before the Law' to offer a reading of Al Ewing's The Immortal Hulk. This is in turn used to explore our desire to encounter the Law understood as a form of completeness. The article differentiates between 'the Law' as completeness or limitlessness and 'the law' understood as limitation. The article also examines this desire to experience completeness or limitlessness in the work of George Bataille who argued such an experience was the path to sovereignty. In response it also considers Francois Flahault's critique of Bataille who argued Bataille failed to understand limitlessness is split between a 'good infinite' and a 'bad infinite', and that it is only the latter that can ultimately satisfy us. The article then proposes The Hulk, especially as presented in Al Ewing's The Immortal Hulk, is a study in where our desire for limitlessness can take us. Ultimately it proposes we turn ourselves away from the Law and towards the law that preserves and protects our incompleteness. Keywords: Law; sovereignty; comics; superheroes; The Hulk Introduction From Jean Bodin to Carl Schmitt, the foundation of the law, or what we more readily understand as sovereignty, is marked by a significant division. The law is a limit in the sense of determining what is permitted and what is proscribed, but the authority for this limit is often said to derive from something unlimited. -
Comic Books Vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S
University of Texas at Tyler Scholar Works at UT Tyler English Department Theses Literature and Languages Spring 4-30-2012 Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S. Latham Follow this and additional works at: https://scholarworks.uttyler.edu/english_grad Part of the English Language and Literature Commons Recommended Citation Latham, Andrew S., "Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar" (2012). English Department Theses. Paper 1. http://hdl.handle.net/10950/73 This Thesis is brought to you for free and open access by the Literature and Languages at Scholar Works at UT Tyler. It has been accepted for inclusion in English Department Theses by an authorized administrator of Scholar Works at UT Tyler. For more information, please contact [email protected]. COMIC BOOKS VS. GREEK MYTHOLOGY: THE ULTIMATE CROSSOVER FOR THE CLASSICAL SCHOLAR by ANDREW S. LATHAM A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English Department of Literature and Languages Paul Streufert, Ph.D., Committee Chair College of Arts and Sciences The University of Texas at Tyler May 2012 Acknowledgements There are entirely too many people I have to thank for the successful completion of this thesis, and I cannot stress enough how thankful I am that these people are in my life. In no particular order, I would like to dedicate this thesis to the following people… This thesis is dedicated to my mother and father, Mark and Seba, who always believe in me, despite all evidence to the contrary. -
Thesis Are Retained by the Author And/Or Other Copyright Owners
Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Walsh, M. (2018) Comic books & myths: the evolution of the mythological narratives in comic books for a contemporary myth. M.A. thesis, Canterbury Christ Church University. Contact: [email protected] Comic Books & Myths: The Evolution of the Mythological Narratives in Comic Books for a Contemporary Myth by Michael Joseph Walsh Canterbury Christ Church University Thesis submitted for the Degree of MA by Research 2018 CONTENTS Abstract .................................................................................................................................................. iii Acknowledgements ................................................................................................................................ iv The Image of Myth: .............................................................................................................................. -
Lecture 20 Good Morning and Welcome to LLT121, Classical Mythology
Lecture 20 Good morning and welcome to LLT121, Classical Mythology. As promised, today we will be discussing the careers of two deities, Athena and Hermes, who are of primary interest, not so much because of what they’re in charge of—although they are in charge of some important things. Neither one of them has a tremendous amount of mythology, so to speak. These two deities figure more in other god’s and goddess’s myths, other hero’s myths, than their own. There’s maybe about two or three good stories, tops, about each one. However, Athena, for example—and we can begin with Athena—since she is the patron goddess of the award winning city of Athens, she shows up in just about every story that is written by an Athenian. Let’s take some examples here. The Athena story starts out when Zeus, supposedly, is married to Metis. Metis is the ancient Greek word for “thought.” Metis is, obviously, an only vaguely anthropomorphic personification goddess of thought. It makes sense, doesn’t it, that Zeus gets married to thought? Thought is not going to get married to Hades or Poseidon or any of these other lunatics. But Zeus finds out, by means of an oracle, a handy oracle, that Metis is going to give birth to two children. One is the goddess Athena and two is a son who will grow up to be greater than his father. As you’ll recall from our discussion of cosmogony, the supreme gods are always having to deal with the notion of raising a son who’s going to be stronger than you. -
Culture Hero's Intrepid Past (Prometheus, Loki, Syrdon
ISSN 0258-0802. LITERATŪRA 2015 57 (3) CULTURE HERO’S INTREPID PAST (PROMETHEUS, LOKI, SYRDON… COYOTE…)1 Fatima Eloeva Department of Classical Philology Vilnius University Erika Sausverde Centre of Scandinavian Studies Vilnius University Abstract. The paper compares Loki of the Scandinavian and Syrdon of the Caucasian material (the Nart epic tradition) with the evolution of the character of Prometheus as described in the early texts (Theogony and Works and Days by Hesiod) and with his later transformation as described in Prometheus Bound by Aeschilus. This comparison makes it possible to demonstrate the general pattern of evolution which can be described as (chthonian) deity → trickster → culture hero. In this we do not agree with Eleazar Meletinskij’s statemwent, according to which the culture hero – Demiurge – is the most ancient character in the world folklore, while the trickster is a subsequent transformation of the image of the culture hero. Employing the Greek model (Hesiod’s Theogony) as our starting point, we will argue that an intriguer / a trickster is the most ancient mythological character, while the culture hero emerges as a result of later developments. Keywords: trickster, culture hero, chthonian deity, metaphor, myth, comparative mythology, semantic evolution, idea of progress. Before the High and Far-Off Times, O my Best Beloved, came the Time of the Very Beginnings; and that was in the days when the Eldest Magician was getting Things ready. […] He took the Elephant–All-the-Elephant-there-was–and said, ‘Play at being an Elephant,’ and All-the-Elephant-there-was played. […] But there was one Elephant […] who was full of ’satiable curtiosity [sic] and that means he asked ever so many questions. -
Using Comics to Make Mythology Meaningful," SANE Journal: Sequential Art Narrative in Education: Vol
SANE journal: Sequential Art Narrative in Education Volume 1 Article 4 Issue 1 Comics in the Contact Zone 1-1-2010 This is Not Your Father's Thor: sinU g Comics to Make Mythology Meaningful Nick Kremer Follow this and additional works at: http://digitalcommons.unl.edu/sane Recommended Citation Kremer, Nick (2010) "This is Not Your Father's Thor: Using Comics to Make Mythology Meaningful," SANE journal: Sequential Art Narrative in Education: Vol. 1: Iss. 1, Article 4. Available at: http://digitalcommons.unl.edu/sane/vol1/iss1/4 This Article is brought to you for free and open access by DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in SANE journal: Sequential Art Narrative in Education by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Kremer: This is Not Your Father's Thor: Using Comics to Make Mythology Me 1:1______________________________________________60 THIS IS NOT YOUR FOREFATHER’S THOR: USING COMICS TO MAKE MYTHOLOGY MEANINGFUL BY NICK KREMER A Call to Adventure It was my first year of teaching, and as part of a fourth-quarter Mythology unit in my 9th grade Language Arts class, we were reading aloud adapted versions of the old Norse tales from Snorri’s Prose Edda. This particular class period witnessed the contest between Thor, god of thunder, and the giant-king Utgard-Loki. Our hero was not faring well – he had already failed to empty a normal-sized drinking horn and lift up a mere cat, and was currently struggling mightily in his wrestling match with, of all competitors, a crippled old nurse. -
X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media Lyndsey E
Georgia Southern University Digital Commons@Georgia Southern University Honors Program Theses 2015 X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media Lyndsey E. Shelton Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the American Popular Culture Commons, International and Area Studies Commons, and the Religion Commons Recommended Citation Shelton, Lyndsey E., "X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media" (2015). University Honors Program Theses. 146. https://digitalcommons.georgiasouthern.edu/honors-theses/146 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in University Honors Program Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media An Honors Thesis submitted in partial fulfillment of the requirements for Honors in International Studies. By Lyndsey Erin Shelton Under the mentorship of Dr. Darin H. Van Tassell ABSTRACT It is a widely accepted notion that a child can only be called stupid for so long before they believe it, can only be treated in a particular way for so long before that is the only way that they know. Why is that notion never applied to how we treat, address, and present religion and the religious to children and young adults? In recent years, questions have been continuously brought up about how we portray violence, sexuality, gender, race, and many other issues in popular media directed towards young people, particularly video games. -
One with Her Shield
;;;;;;;;;;;;;;;;;;;;;; One With Her Shield by Diveena Have you ever had an experience where you were at the wrong place at the wrong time? Or that something happened to you beyond your control? Perhaps you were in an environment that you felt at home with but still fell prey to circumstance. How did you feel? How did you react? How did you Þnally deal with it all? Hopefully we donÕt have to confront such situations. Yet many have undergone these types of incidences and survived. The journey to a healing place of understanding is one that Medusa, in association with the goddess Athena, can symbolically reveal as a great transformational acquisition of wisdom. An image that ties these two beguiling ladies together is AthenaÕs shield with MedusaÕs head upon it. I propose that this image be a focus and support to all people that have come from a place of violation. Not only women and children are victims of such occurrences, but so are many marginal groups of people that have not achieved esteemed identity in society. Some of us can overcome victimization through an integrating process of healing and power by taking up AthenaÕs shield. An Image to rule by: Ancient history can support this concept with some insights. Before the 6th century BC, a powerful nation at the time, Libya, revered an earth goddess resembling the Greek Medusa. She was described as a Gorgon goddess of righteous wrath. Michael Graves, author of the White Goddess, refers to Medusa as a beautiful Libyan Queen who led her troops into battle (Graves 244).