Eurynome and Eurycleia in the Odyssey
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
A Critical Examination of Feminist Vvri Tings on the Matriarchy. a Thesis
CALIFORNIA STATE Ul'HV.ERSITY, NORTHRIDGE CHILDREN,, OF THE GODDESS: A Critical Examination of Feminist vvri tings on the Matriarchy. A thesis submitted in partial satisfaction of the requirements for ·the degree of tllaster of l'~rts in An ·thropo logy by Lynne Bean // June, 1976 The Thesis of Lynne Bean is approved: California S-tate University, Northridge ii l ACKNOWLEDGEMENTS l This paper is the result of the invaluable I I assistance and support of many individuals. I wish to I thank, particularly, Dr. Evalyn Michaelson, teacher and friend, for her patience and editorial advice. I am I also extremely grateful to Dr. Liucija Baskauskas and ! Dr. Jacqueline Lindenfeld for their useful and pertinent criticisms. Finally, to Shirley Anderson, Eliot Bean, r.inda and Bill Waters and Rudy Schneider, whose belief t.hat it could be done made this work possible, thank you. I 1 i I i i I I I l i l I i I ~ i ! l i I ! I l I i ______ Ij ~--~·---- ·-····--·---··---··-------~·--·-.-~----·-------··---- --~- iii TABLE OF CONTENTS 1. 1''-CKNOWLEDGEMENTS ••••••••••••••••••••••••••••••••• iii 1 2 .. ABS'IRACT •..... (J •••••••••••••••••••••••••••••••••••• v 3. INTRODUCTION •••••••••••••••••••••••••••••••••••••• • 1 4. MYTH AS HISTORY: FOUNDATIONS OF' THE r'lATRIARCHY •••••••••••••••••••••• 9 5.. MY'I'I-I AND SYMBOL: A JUNGIAN VIEV\f OF WOMEN AND ~'lATRIARCHY •••••••••••• 20 6. N.YTI-IOLOGY AND !'"lA.TRIARCHY: EVIDENCE FROM SELECTED NYTHS •••••••••••••••••••••• 38 7 . .['.IJ...l\'I'RIARCHY AND WOMAN: A .FEMINIST VIEW ••••••••••••••••••••••••• ~ ••••••••• 61 8. SHrvJMl\RY AND CONCLUSIONS ••••••••••••••••••••••••••• 85 9. "BIBLIOGRAPHY •••••••••••••••••••••••••••••••••••••• 91 iv ···-· --~---····- ...... ·-~----~----~·---~- -·-·~---~ .. ----·-·--- ········--- --··--- ~ --~--~ --· ·--- .---·~-·-·-· --·-------------h-•h--~---·-··-----··----~---------'-·----~-~-~-: i ABSTRACT CHILDREN OF THE GODDESS: . ~. A Critical Examination of Feminist Writings on the I Matriarchy. -
Exhibition "Art and Myth. Gods at the Prado" at Caixaforum Barcelona
Press Release CaixaForum Barcelona From 15 October 2020 to 14 March 2021 Press Release The exhibition Art and Myth. Gods at the Prado was produced under the strategic alliance established between the Prado National Museum and ”la Caixa” Foundation CaixaForum Barcelona invites visitors to the Olympus of the gods Art and Myth. Gods at the Prado takes a wide-ranging look at Greco- Roman mythology and its representation throughout art history in paintings, sculptures and objects from the mid-first century BC to the mid-nineteenth century. Organised diachronically and based on 64 works from the collections of the Prado Museum, the exhibition features such key figures in art history as Rubens, Ribera and Zurbarán, among many others. This journey around the Olympus of the gods is divided into eight thematic sections and presents different representations of gods and interpretations of the same mythological episodes, enabling the visitor to appreciate the iconographic, geographic and chronological wealth of the Prado’s collections. Moreover, a number of elements, including an audiovisual featuring various voices from today’s world, seen in Barcelona for the first time, suggest comparisons between the classical discourse of the works on show with contemporary twenty-first-century myths. Art and Myth. Gods at the Prado. Dates: From 15 October 2020 to 14 March 2021 (open to the public from 4 pm on October 15). Place: CaixaForum Barcelona (Av. de Francesc Ferrer i Guàrdia, 6-8). Organised and produced by: ”la Caixa” Foundation and the Prado National Museum. Curator: Fernando Pérez Suescun, Head of Educational Content, Education Department, Prado National Museum. -
The Classical Mythology of Milton's English Poems
YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor VIII THE CLASSICAL MYTHOLOGY OF Milton's English poems CHARLES GROSVENOR OSGOOD, Ph.D. NEW YORK HENRY HOLT AND COMPANY igoo Ss9a Copyright, igoo, BY CHARLES GROSVENOR OSGOOD, Ph.D. J^ 7/SS TO PROFESSQR ALBERT S. COOK AND PROFESSOR THOMAS D. SEYMOUR — PREFACE The student who diligently peruses the lines of a great poem may go far toward a realization of its char- acter. He may appreciate, in a degree, its loveliness, strength, and direct hold upon the catholic truth of life. But he will be more sensitive to these appeals, and receive gifts that are richer and less perishable, accord- ing as he comprehends the forces by whose interaction the poem was produced. These are of two kinds the innate forces of the poet's character, and certain more external forces, such as, in the case of Milton, are represented by Hellenism and Hebraism. Their activ- ity is greatest where they meet and touch, and at this point their nature and measure are most easily dis- cerned. From a contemplation of the poem in its gene- sis one returns to a deeper understanding and enjoyment of it as a completed whole. The present study, though it deals with but one of the important cultural influ- ences affecting Milton, and with it but in part, endeav- ors by this method to deepen and clarify the apprecia- tion of his art and teaching. My interest in the present work has found support and encouragement in the opinions of Mr. Churton Collins, as expressed in his valuable book. -
Bulfinch's Mythology
Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34 -
7 Domesticating Artemis
7 Domesticating Artemis at the margins The action of Euripides’ Iphigeneia among the Taurians is set far away from the Aegean, on the northern coast of the Black Sea.1 When Orestes arrives on a mission to fetch from this place a portable image of Artemis, a crisis is generated by the local Taurian custom requiring any stranger ar- riving on these shores to be sacrificed to Artemis. Unknown to Orestes, his sister Iphigeneia (whom he believes is dead) is living here in service to Artemis, and she is expected to officiate at her own brother’s death. This is avoided when each learns the true identity of the other, but the crisis (how to appease a goddess who demands the death of strangers) cannot be re- solved without the intervention of Athena. In a show-stopping epiphany towards the end of the play, Athena announces Athenian ritual as the so- lution, directing that Orestes install a statue of Artemis at one sanctuary of Attika (Halai) and that Iphigeneia take up service to Artemis at another (Brauron). In imitation of the Taurian rite, the sacrifice at Halai would re- quire not death but merely a show of human blood. Athena announces to Iphigeneia that, as priestess of Artemis at Brauron, she would one day have her tomb in the sanctuary “at the Brauranian steps,” where she would re- ceive the garments left behind by women who died in childbirth: . and they will dedicate as ornament for you the fine-webbed woven garments that women Copyright © 2004. University of California Press. -
The Influence of the Greek Mythology Over the Modern Western Society
POPULAR AND DEMOCRATIC REPUBLIC OF ALGERIA MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERSITY OF TLEMCEN FACULTY OF LETTERS AND LANGUAGES ENGLISH DEPARTMENT THE INFLUENCE OF THE GREEK MYTHOLOGY OVER THE MODERN WESTERN SOCIETY This Extended Essay is Submitted to the English Department as a Partial Fulfillment For the Requirement of “the Master Degree” in Civilization and Literature. Presented by: Supervised by: Mr. Abdelghani CHAMI. Dr. Daoudi FRID. Academic Year: 2014 - 2015. Tv~ÇÉãÄxwzÅxÇàá First and foremost I thank The Greatest, The All-Merciful for guiding me, and for giving me courage and determination in conducting this research, despite all difficulties. I would like to express my gratitude and appreciation to my supervisor, Dr. Daoudi Frid for his supporting and expertise. I Wxw|vtà|ÉÇá I dedicate my work to my family who has supported me throughout the process of studying. I will always appreciate all they have done. Thank you for your unconditional support with my studies. I am honoured to have you as a family. Thank you for giving me a chance to prove and improve myself through all my steps in life. I also would like to dedicate my work to all those who contributed to its accomplishment. II Abstract Since the dawn of history mythology has fulfilled a significant role within many aspects of people’s cultures. It has been handed down from one generation to the next one through different means and has been depicted in numerous ways. The antique Greek mythology is a well-known mythology which emerged from the ancient religions of the island of Crete and gathers a wide range of legends, myths and stories. -
Greek Mythology Greek Creation Myth
Name: __________________________________________ Date: ___________________ Block: ________ Greek Mythology What are myths and if they aren’t real, why do we study them in history class? A “myth” is a traditional story about gods and heroes that societies use to explain their history, culture, beliefs, and the natural world around them. For the Ancient Greeks, their gods and goddesses were immortal beings who looked like people, acted like people, and lived on Mount Olympus (a tall mountain in northern Greece). The Greek gods controlled the universe and occasionally would come down to earth in their own shapes, or sometimes disguised as humans or animals. The Greek myths and gods teach us about their history, like how the story of the Iliad teach us about the Trojan War. Myths also teach us about their culture, including their values and what they belief about humans and humanity. Lastly, myths explain natural phenomena. For example, the Greeks explained why the seasons changed through the story of Demeter, the goddess of fertility. The goddess Demeter had a daughter named Persephone [per-sef-uh-nee] who brought her much joy. But when Persephone married Hades, the God of the Underworld, she had to live with him for half of the year in the Underworld. Then would return to Mount Olympus for the other half of the year. Demeter, as the goddess of fertility, caused things on Earth to grow, but only when she was happy and with Persephone. Therefore, half the year (summer) is bright and plants grow fruitfully, while the other half of the year (winter, when Persephone and Demeter are apart) is dark and lifeless. -
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). -
Greek Mythology Link (Complete Collection)
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • Español • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. This PDF contains portions of the Greek Mythology Link COMPLETE COLLECTION, version 0906. In this sample most links will not work. THE COMPLETE GREEK MYTHOLOGY LINK COLLECTION (digital edition) includes: 1. Two fully linked, bookmarked, and easy to print PDF files (1809 A4 pages), including: a. The full version of the Genealogical Guide (not on line) and every page-numbered docu- ment detailed in the Contents. b. 119 Charts (genealogical and contextual) and 5 Maps. 2. Thousands of images organized in albums are included in this package. The contents of this sample is copyright © 1997 Carlos Parada and Maicar Förlag. To buy this collection, visit Editions. Greek Mythology Link Contents The Greek Mythology Link is a collection of myths retold by Carlos Parada, author of Genealogical Guide to Greek Mythology, published in 1993 (available at Amazon). The mythical accounts are based exclusively on ancient sources. Address: www.maicar.com About, Email. Copyright © 1997 Carlos Parada and Maicar Förlag. ISBN 978-91-976473-9-7 Contents VIII Divinities 1476 Major Divinities 1477 Page Immortals 1480 I Abbreviations 2 Other deities 1486 II Dictionaries 4 IX Miscellanea Genealogical Guide (6520 entries) 5 Three Main Ancestors 1489 Geographical Reference (1184) 500 Robe & Necklace of -
O Oceanids (Ὠκεανίδες). the 'Holy Company' of Daughters of *Ocean and *Tethys, and Sisters of the River-Gods. Their N
O Oceanids (Ὠκεανίδες). The 'holy company' of daughters of *Ocean and *Tethys, and sisters of the river-gods. Their number varies, but Apollodorus names seven (Asia, *Styx, Electra, Doris, Eurynome, *Amphitrite, *Metis) and Hesiod forty-one, including, in addition to those mentioned by Apollodorus, *Calypso *Clymene and Philyra. Most of those named mated with gods (Amphitrite with Poseidon, Doris with Nereus for example) and produced important offspring (Athena was born from Metis and Zeus, Philyra mated with Kronos in the form of a horse and produced the centaur Chiron, Clymene was the mother of Prometheus, and also bore Phaethon to Helius the sun-god.). The sons of Ocean were the fresh-water rivers, but some of the daughters were sea-nymphs, others spirits of streams called after a characteristic of their water such as Ocyrrhoe ('swift-flowing') or Xanthe ('brownish-yellow'); Styx, unusually, was a female river deity, personifying the river of Hades. Calypso ruled over the island kingdom of Ogygia (but her parentage as a true Oceanid is disputed). Metis had the ability, common to sea-gods, of being able to change her shape, although she was little more than the personification of wisdom, swallowed by Zeus in order to absorb that wisdom and to contain any threat from the child with whom she was pregnant. Oceanids feature as the chorus in Prometheus Bound, a tragedy which is set at the north-eastern edge of the known world, and at a time before Zeus had consolidated his power. The Oceanids were part of the older, pre-Olympian race of gods, who had a role as consorts or mothers of other divinities, but were more often viewed anonymously as belonging to the vastness of the sea, to be placated in times of storm and turbulence. -
An Artistic Approach to Creation Myths Alexis Ortega Regis University
Regis University ePublications at Regis University All Regis University Theses Spring 2013 Visualizing the Written Word: an Artistic Approach to Creation Myths Alexis Ortega Regis University Follow this and additional works at: https://epublications.regis.edu/theses Part of the Arts and Humanities Commons Recommended Citation Ortega, Alexis, "Visualizing the Written Word: an Artistic Approach to Creation Myths" (2013). All Regis University Theses. 589. https://epublications.regis.edu/theses/589 This Thesis - Open Access is brought to you for free and open access by ePublications at Regis University. It has been accepted for inclusion in All Regis University Theses by an authorized administrator of ePublications at Regis University. For more information, please contact [email protected]. Regis University Regis College Honors Theses Disclaimer Use of the materials available in the Regis University Thesis Collection (“Collection”) is limited and restricted to those users who agree to comply with the following terms of use. Regis University reserves the right to deny access to the Collection to any person who violates these terms of use or who seeks to or does alter, avoid or supersede the functional conditions, restrictions and limitations of the Collection. The site may be used only for lawful purposes. The user is solely responsible for knowing and adhering to any and all applicable laws, rules, and regulations relating or pertaining to use of the Collection. All content in this Collection is owned by and subject to the exclusive control of Regis University and the authors of the materials. It is available only for research purposes and may not be used in violation of copyright laws or for unlawful purposes.