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1. Antaeus the Conqueror Antaeus Is an Ancient Greek Mythological Person
Page 1 of 7 Yarra Valley Anglican Church – Sunday 24th May, 2020 Romans 8:31-39 God is for us, Therefore… All Things Work For Our Good Rev Matthew Smith 1. Antaeus the Conqueror Antaeus is an Ancient Greek Mythological person. He was the giant son of Poseidon, god of the Sea, And Gaia, god of the Earth. Antaeus was a legendary wrestler. He challenged everyone who passed by his area to a wrestling match. And he never lost; he was invincible, Antaeus conquered all. But there’s a secret to why he always won his wrestling matches. Antaeus drew strength from his mother, the earth. As long as he was in contact with the earth, he drew power. So think about: In Greek wrestling, like the Olympic sport, The goal is to force your opponents to the ground, Pinning them to the earth. But when Antaeus is pinned to the earth, His strength returns and grows, Enabling him to overcome his opponent. Now let’s be clear: This is myth. Fiction. Not historical truth. Greek Myth is very different to the Christian Gospel. Jesus Christ is not myth, not fiction. His life, his death, his resurrection, his ascension. It’s all a matter of historical record. We believe the Gospel because it’s all true. But while the story of Antaeus is a myth, It offers us an interesting illustration. Antaeus was the all-conquering wrestler. And Paul tells Christians in Romans 8: We are more than conquerors. 2. God is For Us Today we conclude our series on Romans ch.8. -
Greek Mythology at the Service of the Portuguese Inquisition: the Case of Hercules and the Hydra of Lerna
Athens Journal of Mediterranean Studies- Volume 1, Issue 1 – Pages 25-44 Greek Mythology at the Service of the Portuguese Inquisition: The Case of Hercules and the Hydra of Lerna By Milton Dias Pacheco Greek mythology has been along the centuries a fruitful source of inspiration to artists and writers, as it possesses the strength of expressing symbolically the most common circumstances of life. Regarding the threats that in every age put in danger human life the most popular figure was maybe the Hydra that infested the region of the Lake of Lerna, in Argolis. This mythical figure may still have an older origin as it is connected with chthonic dangers. Because of its terrifying aspect, reptilian traits and poisonous breath, it was related to the evil and the domains of Hell. Later the Hydra significance became larger and deeper as it represented the heresies that could affect the Christian orthodoxy. According to this point of view, every defender of the Catholic Faith was immediately compared to Hercules, the Greek hero who succeeded in killing the mythological Hydra monster. In this way, it is easy to understand why this representation was often used in connection with the Iberian Habsburg Kings, as it worked as a political strategy of this dynasty, in which the Spanish Habsburgs were faced as the guardians and defenders of the Church of Rome, mainly in times when the Inquisition developed a determinative role. An illustrative example of this was the decoration of the arch built by the Inquisition in Lisbon, when King Philip II of Portugal visited the Portuguese Empire capital. -
The Formulaic Dynamics of Character Behavior in Lucan Howard Chen
Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Howard Chen All rights reserved ABSTRACT Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen This dissertation analyzes the three main protagonists of Lucan’s Bellum Civile through their attempts to utilize, resist, or match a pattern of action which I call the “formula.” Most evident in Caesar, the formula is a cycle of alternating states of energy that allows him to gain a decisive edge over his opponents by granting him the ability of perpetual regeneration. However, a similar dynamic is also found in rivers, which thus prove to be formidable adversaries of Caesar in their own right. Although neither Pompey nor Cato is able to draw on the Caesarian formula successfully, Lucan eventually associates them with the river-derived variant, thus granting them a measure of resistance (if only in the non-physical realm). By tracing the development of the formula throughout the epic, the dissertation provides a deeper understanding of the importance of natural forces in Lucan’s poem as well as the presence of an underlying drive that unites its fractured world. Table of Contents Acknowledgments ............................................................................................................ vi Introduction ...................................................................................................................... -
Big Love by Charles Mee: a Bit of Background
Big Love by Charles Mee: A Bit of Background About ‘the (re)making project’ All of Chuck Mee’s plays are available online, for free, and in the spirit of his collage style of playwriting, he welcomes artists borrow The Love Trilogy from, steal and transform his scripts into new projects. He also en- courages, possibly even requires, the artists working on his scripts to Big Love is the third play in a thematic trilogy of plays by become creators themselves, completing the work he has laid out Charles Mee. While the plots of the plays do not connect, with their own performance and interpretation. the subject, themes and elements of the plays intersect. The Love Trilogy was written during Mee’s love affair “There is no such thing as an original play. with Laurie Williams that “burst suddenly into flame and None of the classical Greek plays were original: they were all based then, a few years later, was just as suddenly doused.” on earlier plays or poems or myths. And none of Shakespeare's plays are original: they are all taken from earlier work. As You Like It is First Love taken from a novel by Thomas Lodge published just 10 years before Shakespeare put on his play without attribution or acknowledgment. Two people in their seventies fall in love—for the first Chunks of Antony and Cleopatra are taken verbatim, and, to be sure, time in their lives. And, as they work their way toward without apology, from a contemporary translation of Plutarch's one another through the accumulated baggage of their Lives. -
The Fragmentation of Being and the Path Beyond the Void 2185 Copyright 1994 Kent D
DRAFT Fragment 48 THE HOUSE OF BAAL Next we will consider the house of Baal who is the twin of Agenor. Agenor means the “manly,” whereas Baal means “lord.” In Baal is Belus. Within the Judeo- Christian religious tradition, Baal is the archetypal adversary to the God of the Old Testament. No strange god, however, is depicted more wicked, immoral and abominable than the storm god Ba’al Hadad, whose cult appears to have been a great rival to Yahwism at certain times in Israel’s history. In the bible we read how the prophets of Ba’al and Yahweh persecuted and killed one another, and how the kings of Israel wavered in their attitudes to these gods, thereby provoking the jealousy of Yahweh who tolerated no other god beside him. Thus, it appears that the worship of Ba’al Hadad was a greater threat to Yahwism than that of any other god, and this fact, perhaps more than the actual character of the Ba’al cult, may be the reason for the Hebrew aversion against it. The Fragmentation of Being and The Path Beyond The Void 2185 Copyright 1994 Kent D. Palmer. All rights reserved. Not for distribution. THE HOUSE OF BAAL Whereas Ba’al became hated by the true Yahwist, Yahweh was the national god of Israel to whose glory the Hebrew Bible is written. Yahweh is also called El. That El is a proper name and not only the appelative, meaning “god” is proven by several passages in the Bible. According to the Genesis account, El revealed himself to Abraham and led him into Canaan where not only Abraham and his family worshiped El, but also the Canaanites themselves. -
Lucan's Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek a Dissertation Submitted in Partial Fulf
Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Catherine Connors, Chair Alain Gowing Stephen Hinds Program Authorized to Offer Degree: Classics © Copyright 2014 Laura Zientek University of Washington Abstract Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek Chair of the Supervisory Committee: Professor Catherine Connors Department of Classics This dissertation is an analysis of the role of landscape and the natural world in Lucan’s Bellum Civile. I investigate digressions and excurses on mountains, rivers, and certain myths associated aetiologically with the land, and demonstrate how Stoic physics and cosmology – in particular the concepts of cosmic (dis)order, collapse, and conflagration – play a role in the way Lucan writes about the landscape in the context of a civil war poem. Building on previous analyses of the Bellum Civile that provide background on its literary context (Ahl, 1976), on Lucan’s poetic technique (Masters, 1992), and on landscape in Roman literature (Spencer, 2010), I approach Lucan’s depiction of the natural world by focusing on the mutual effect of humanity and landscape on each other. Thus, hardships posed by the land against characters like Caesar and Cato, gloomy and threatening atmospheres, and dangerous or unusual weather phenomena all have places in my study. I also explore how Lucan’s landscapes engage with the tropes of the locus amoenus or horridus (Schiesaro, 2006) and elements of the sublime (Day, 2013). -
Preliminary Studies on the Scholia to Euripides
Preliminary Studies on the Scholia to Euripides CALIFORNIA CLASSICAL STUDIES NUMBER 6 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrologi- cal and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) is supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Metaphys- ics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 PRELIMINARY STUDIES ON THE SCHOLIA TO EURIPIDES Donald J. Mastronarde CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2017 by Donald J. Mastronarde. California Classical Studies c/o Department of Classics University of California Berkeley, California 94720–2520 USA http://calclassicalstudies.org email: [email protected] ISBN 9781939926104 Library of Congress Control Number: 2017916025 CONTENTS Preface vii Acknowledgments xi Abbreviations xiii Sigla for Manuscripts of Euripides xvii List of Plates xxix 1. -
Operatic Danaids Peter Burian ([email protected]) CAMWS 2018
Operatic Danaids Peter Burian ([email protected]) CAMWS 2018 1. Ancient sources A. Apollodorus Bibliotheca 2.1.5 But the sons of Aegyptus came to Argos, and exhorted Danaus to lay aside his enmity, and begged to marry his daughters. Now Danaus distrusted their professions and bore them a grudge on account of his exile; nevertheless, he consented to the marriage and allotted the damsels among them. First, they picked out Hypermnestra as the eldest to be the wife of Lynceus…. When they had got their brides by lot, Danaus made a feast and gave his daughters daggers; and they slew their bridegrooms as they slept, all but Hypermnestra; for she saved Lynceus because he had respected her virginity: wherefore Danaus shut her up and kept her under ward. But the rest of the daughters of Danaus buried the heads of their bridegrooms in Lerna and paid funeral honors to their bodies in front of the city; and Athena and Hermes purified them at the command of Zeus. Danaus afterwards united Hypermnestra to Lynceus; and bestowed his other daughters on the victors in an athletic contest. (trans. J. G. Frazer) B. Hyginus Fabulae 168 Danaus son of Belus had 50 daughters by several wives. His brother Aegyptus had just as many sons, and he wanted to kill his brother Danaus and his daughters so that he alone would possess his father's kingdom. When Danaus first outage is realized what was going on, he fled from Africa to Argos with the help of Minerva, who, they say, built the first two-prowed ship so that Danaus when Egypt is found out could escape. -
The Χορός of Danaids in Pindar's Pythian 9
Princeton/Stanford Working Papers in Classics Footrace, Dance, and Desire: The χορός of Danaids in Pindar’s Pythian 9 Version 1.1 December 2007 Micah Y. Myers Stanford University Abstract: This paper offers a new interpretation of Pindar’s Pythian 9.112-16, which relates the story of Danaos marrying off his forty-eight daughters. Previously, these lines have been understood as describing a footrace by the daughter’s suitors to determine which suitor would marry which daughter. By reanalyzing Pindar’s diction I suggest that this passage also depicts Danaos’ daughters in the marked terms of choral performance. This interpretation not only matches the representation of the Danaids as a performing chorus in Phyrnicus’ Danaids and Aeschylus’ Suppliants, but it also further illuminates the way desire permeates and organizes this particular Pindaric ode. 1 Footrace, Dance, and Desire: The χορός of Danaids in Pindar’s Pythian 91 This paper offers a new interpretation of Pindar’s Pythian 9.112-16. These verses have been understood as a description of how Danaos married off his daughters through a footrace he held for their suitors.2 By reanalyzing Pindar’s diction I shall suggest that the text also depicts the Danaids in the marked terms of choral performance. This interpretation not only matches the representation of the Danaids as a performing chorus in Phyrnicus’ Danaids and Aeschylus’ Suppliants, but it also further illuminates the way desire permeates and organizes Pythian 9.3 I shall propose that Pindar portrays the Danaids in this manner in order to represent the connection between athletics, chorality, and marriage. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
Notes Du Mont Royal ←
Notes du mont Royal www.notesdumontroyal.com 쐰 Cette œuvre est hébergée sur « No- tes du mont Royal » dans le cadre d’un exposé gratuit sur la littérature. SOURCE DES IMAGES Google Livres HISTORIA;m 22444 kawa: j POIET I CÆ L ’SCRIPTORES .rANTIŒJL’. nouononUs Æbmimfis. PTOLEMÆUS 3412.11.11. r: CONON Œlmfiœl. é PARTHENIUS www ANTON INUS 1. I 323.41.15. ’ Græcè 8c Latine. Ilmfin Mn Nm à” Mite: mimai; 1*”;’lmnlsno. Typis F. M u G u n in Profiant apud R. S c o ’r T; Bibliopolam Londinenfem. MQCLXÂK . V1110 W ’IL mesa? LU SHo T RI WILLIAMSON; 4 EQuI-ïl 154124119, SEREles-IMO CA’ROLOII. MAG. un: FRANC. ET H13. ne; ’ A CONSILIIS une R10 RIE us, ETASECRETIS sua-rus. misà fiant in me -, .VI R 5 BEY "2&xex ’y in. promerita tua , magna j fane (9» dzuturmz. Sponte tua , nullo mec merito, dgfiendiflz’ etiam ad me,eâ benwolemiâ, quâ l Gentir a bnjut Epil’tola Deczlicatorial.Z l” hujm (’9’ aliarum literato: kami; ne: compleôïerù. : Necfpenç, nec cogitationem quidem foui, dignum aliquid tamis beneficiù auquam repqnendi; flaque enim patiebatur id ont firtunæÏïJÆ magnitudog qui mm anguflia. Non ceflb interim juflâ debz’tâq; prédication ubiq; teflari tautum Tibi debere me, quantum fermé homo bomini potoflîugi bâCÇnullâ aliâ de caufiî) gratitudini: mm fignz’ficondce curâ adduôîm, Nomini Tuo b0: li- bella: infiripfi. Malui Forum m0e dalla: boberi, quâm minù: gratw. Quanqwzm- confllio huit: meo illud etiam patrocinoripofitfluod non 5m. priclem (queuta ([11 laumanitaofllu- diorum meorum rationCmTe ex- peé’care fi i ’ Epiflola Dedicàtoria.’ ç, peé’tare dicerer. -
THE INTERPRETATION of THEBAN MYTHS in LATE MEDIAEVAL LITERATURE David Anderson for Richard Hamilton Green
MYTHOGRAPHY OR HISTORIOGRAPHY? THE INTERPRETATION OF THEBAN MYTHS IN LATE MEDIAEVAL LITERATURE David Anderson For Richard Hamilton Green The modern term "classical myth" covers a range of legendary subjects which mediaeval writers commonly distinguished as tabula or historia; or, with the addition of a third term, as 1) things which could have happened and did happen (historia); 2) things which could have happened but did not (argumentum) ; and 3) things which could not have happened and did not happen, such as the preposterous high jinks of the pagan gods (fabula).* Though the mediaeval Latin word historia and the derivative loan-words in vernacular languages, such as Middle English "storie," do not correspond exactly to the meaning of Modern English "history," they stood always and clearly in contrast to fabula, which denoted a lie, a falsehood. By the fourteenth century, writers were using this pair of terms with the informality accorded an unquestioned convention. In one well-known example, Chaucer's Physician remarks that the tale of Appius and Virginia "is no fable, / but knowen for historial thyng notable" (154-55); and in another, Boccaccio distinguishes the fabulous from the historical characters and events in Vergil's Aeneid, book 4 (Genealogie 14.13). Accounts of the "myths" of the ancient cities of Thebes and Troy often focussed on the question of fabulous and historical elements in the received sources: Guido delle Colonne, for one, sets it as his task to "separate the true from the false among the things which were written of [Trojan] history in Latin 2 books," an assertion which John Lydgate translates and expands in the prologue to his Troy Book.