Aquarian Mythology
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The Argonautica, Book 1;
'^THE ARGONAUTICA OF GAIUS VALERIUS FLACCUS (SETINUS BALBUS BOOK I TRANSLATED INTO ENGLISH PROSE WITH INTRODUCTION AND NOTES BY H. G. BLOMFIELD, M.A., I.C.S. LATE SCHOLAR OF EXETER COLLEGE, OXFORD OXFORD B. H. BLACKWELL, BROAD STREET 1916 NEW YORK LONGMANS GREEN & CO. FOURTH AVENUE AND 30TH STREET TO MY WIFE h2 ; ; ; — CANDIDO LECTORI Reader, I'll spin you, if you please, A tough yarn of the good ship Argo, And how she carried o'er the seas Her somewhat miscellaneous cargo; And how one Jason did with ease (Spite of the Colchian King's embargo) Contrive to bone the fleecy prize That by the dragon fierce was guarded, Closing its soporific eyes By spells with honey interlarded How, spite of favouring winds and skies, His homeward voyage was retarded And how the Princess, by whose aid Her father's purpose had been thwarted, With the Greek stranger in the glade Of Ares secretly consorted, And how his converse with the maid Is generally thus reported : ' Medea, the premature decease Of my respected parent causes A vacancy in Northern Greece, And no one's claim 's as good as yours is To fill the blank : come, take the lease. Conditioned by the following clauses : You'll have to do a midnight bunk With me aboard the S.S. Argo But there 's no earthly need to funk, Or think the crew cannot so far go : They're not invariably drunk, And you can act as supercargo. — CANDIDO LECTORI • Nor should you very greatly care If sometimes you're a little sea-sick; There's no escape from mal-de-mer, Why, storms have actually made me sick : Take a Pope-Roach, and don't despair ; The best thing simply is to be sick.' H. -
From Indo-European Dragon Slaying to Isa 27.1 a Study in the Longue Durée Wikander, Ola
From Indo-European Dragon Slaying to Isa 27.1 A Study in the Longue Durée Wikander, Ola Published in: Studies in Isaiah 2017 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Wikander, O. (2017). From Indo-European Dragon Slaying to Isa 27.1: A Study in the Longue Durée. In T. Wasserman, G. Andersson, & D. Willgren (Eds.), Studies in Isaiah: History, Theology and Reception (pp. 116- 135). (Library of Hebrew Bible/Old Testament studies, 654 ; Vol. 654). Bloomsbury T&T Clark. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 LIBRARY OF HEBREW BIBLE/ OLD TESTAMENT STUDIES 654 Formerly Journal of the Study of the Old Testament Supplement Series Editors Claudia V. -
Idolatry in the Ancient Near East1
Idolatry in the Ancient Near East1 Ancient Near Eastern Pantheons Ammonite Pantheon The chief god was Moloch/Molech/Milcom. Assyrian Pantheon The chief god was Asshur. Babylonian Pantheon At Lagash - Anu, the god of heaven and his wife Antu. At Eridu - Enlil, god of earth who was later succeeded by Marduk, and his wife Damkina. Marduk was their son. Other gods included: Sin, the moon god; Ningal, wife of Sin; Ishtar, the fertility goddess and her husband Tammuz; Allatu, goddess of the underworld ocean; Nabu, the patron of science/learning and Nusku, god of fire. Canaanite Pantheon The Canaanites borrowed heavily from the Assyrians. According to Ugaritic literature, the Canaanite pantheon was headed by El, the creator god, whose wife was Asherah. Their offspring were Baal, Anath (The OT indicates that Ashtoreth, a.k.a. Ishtar, was Baal’s wife), Mot & Ashtoreth. Dagon, Resheph, Shulman and Koshar were other gods of this pantheon. The cultic practices included animal sacrifices at high places; sacred groves, trees or carved wooden images of Asherah. Divination, snake worship and ritual prostitution were practiced. Sexual rites were supposed to ensure fertility of people, animals and lands. Edomite Pantheon The primary Edomite deity was Qos (a.k.a. Quas). Many Edomite personal names included Qos in the suffix much like YHWH is used in Hebrew names. Egyptian Pantheon2 Egyptian religion was never unified. Typically deities were prominent by locale. Only priests worshipped in the temples of the great gods and only when the gods were on parade did the populace get to worship them. These 'great gods' were treated like human kings by the priesthood: awakened in the morning with song; washed and dressed the image; served breakfast, lunch and dinner. -
Tsr6903.Mu7.Ghotmu.C
[ Official Game Accessory Gamer's Handbook of the Volume 7 Contents Arcanna ................................3 Puck .............. ....................69 Cable ........... .... ....................5 Quantum ...............................71 Calypso .................................7 Rage ..................................73 Crimson and the Raven . ..................9 Red Wolf ...............................75 Crossbones ............................ 11 Rintrah .............. ..................77 Dane, Lorna ............. ...............13 Sefton, Amanda .........................79 Doctor Spectrum ........................15 Sersi ..................................81 Force ................................. 17 Set ................. ...................83 Gambit ................................21 Shadowmasters .... ... ..................85 Ghost Rider ............................23 Sif .................. ..................87 Great Lakes Avengers ....... .............25 Skinhead ...............................89 Guardians of the Galaxy . .................27 Solo ...................................91 Hodge, Cameron ........................33 Spider-Slayers .......... ................93 Kaluu ....... ............. ..............35 Stellaris ................................99 Kid Nova ................... ............37 Stygorr ...............................10 1 Knight and Fogg .........................39 Styx and Stone .........................10 3 Madame Web ...........................41 Sundragon ................... .........10 5 Marvel Boy .............................43 -
Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia). -
Chaotic Descriptor Table
Castle Oldskull Supplement CDT1: Chaotic Descriptor Table These ideas would require a few hours’ the players back to the temple of the more development to become truly useful, serpent people, I decide that she has some but I like the direction that things are going backstory. She’s an old jester-bard so I’d probably run with it. Maybe I’d even treasure hunter who got to the island by redesign dungeon level 4 to feature some magical means. This is simply because old gnome vaults and some deep gnome she’s so far from land and trade routes that lore too. I might even tie the whole it’s hard to justify any other reason for her situation to the gnome caves of C. S. Lewis, to be marooned here. She was captured by or the Nome King from L. Frank Baum’s the serpent people, who treated her as Ozma of Oz. Who knows? chattel, but she barely escaped. She’s delirious, trying to keep herself fed while she struggles to remember the command Example #13: word for her magical carpet. Malamhin of the Smooth Brow has some NPC in the Wilderness magical treasures, including a carpet of flying, a sword, some protection from serpents thingies (scrolls, amulets?) and a The PCs land on a deadly magical island of few other cool things. Talking to the PCs the serpent people, which they were meant and seeing their map will slowly bring her to explore years ago and the GM promptly back to her senses … and she wants forgot about it. -
2000 Goettingerfriedenspreisla
Laudatio Prof. Dr. Ulrich Albrecht, FU Berlin, Otto-Suhr-Institut Sehr verehrte Familie Röhl, sehr verehrte Festversammlung! Im Wintersemester 1988/89 war ich Gast an der TH Darmstadt und augenscheinlich Zeuge der Entstehung der IANUS-Gruppe. Aufgrund einer über die Jahre anhaltenden persönlichen Verbindung möchte ich diesen Tag der Freude nutzen, um die Laudatio eher heiter anzulegen - weniger als wissenschaftlich korrekte Würdigung der Tätigkeit der IANIER (dies auch), sondern als Reflexion über den selbstgewählten Namen der Gruppe. Wer oder was ist IANUS? Die Artbeitsgruppe hat seinerzeit gewiß mit Bedacht den Namen dieses antiken Gottes gewählt, als Vorbild. Also weiter gefragt: Was hat Janus seinerzeit und in der Neuzeit gemacht - schließlich geht es um eine Laudatio. Wer waren die Partner oder gar die Partnerin? Beim antiken Janus ist das bekannt, beim modernen weiß ich es nicht. In beiden Fällen sind aber Folgen aus den Partnerschaften entstanden, die viele Ähnlichkeiten aufweisen, wie gleich aufgezeigt werden wird. Schließlich gefragt: Was wird aus IANUS, was ist seinerzeit aus Janus geworden? Wer ist Janus? Im alten Rom der Gott der Anfänge, der Türen und Tore, der Durchblicke und Durchgänge. Das ist eine bezeichnende Perspektive für die heutigen IANIer: der Arbeitsgruppe ging es und geht es um Anfänge, um Durchblicke, um Verbindungen zwischen Naturwissenschaft und Gesellschafts-wissenschaft. In der bildenden Kunst wird Janus dargestellt mit zwei - in entgegengesetzte Richtung blickenden - Gesichtern, manchmal gar mit vier Gesichtern. Er sieht einfach alles, darunter - so ja auch der moderne IANUS - was andere nicht sehen. Sein griechischer Vorgänger wurde Panoptes, der Allesseher, genannt, er war einer der mythischen Giganten. Der blickte einfach alles, und die Griechen stellten sich vor, daß sein ganzer Kopf mit Augen besetzt war. -
Who Maketh the Clouds His Chariot: the Comparative Method and The
LIBERTY UNIVERSITY SCHOOL OF RELIGION WHO MAKETH THE CLOUDS HIS CHARIOT: THE COMPARATIVE METHOD AND THE MYTHOPOETICAL MOTIF OF CLOUD-RIDING IN PSALM 104 AND THE EPIC OF BAAL A THESIS SUBMITTED TO THE FACULTY OF LIBERTY UNIVERSITY IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS IN RELIGIOUS STUDIES BY JORDAN W. JONES LYNCHBURG, VIRGINIA APRIL 2010 “The views expressed in this thesis do not necessarily represent the views of the institution and/or of the thesis readers.” Copyright © 2009 by Jordan W. Jones All Rights Reserved ii ACKNOWLEDGMENTS To Dr. Don Fowler, who introduced me to the Hebrew Bible and the ancient Near East and who instilled in me an intellectual humility when studying the Scriptures. To Dr. Harvey Hartman, who introduced me to the Old Testament, demanded excellence in the classroom, and encouraged me to study in Jerusalem, from which I benefited greatly. To Dr. Paul Fink, who gave me the opportunity to do graduate studies and has blessed my friends and I with wisdom and a commitment to the word of God. To James and Jeanette Jones (mom and dad), who demonstrated their great love for me by rearing me in the instruction and admonition of the Lord and who thought it worthwhile to put me through college. <WqT* <yx!u&oy br)b=W dos /ya@B= tobv*j&m^ rp@h* Prov 15:22 To my patient and sympathetic wife, who endured my frequent absences during this project and supported me along the way. Hn`ovl=-lu^ ds#j#-tr~otw+ hm*k=j*b= hj*t=P* h*yP! Prov 31:26 To the King, the LORD of all the earth, whom I love and fear. -
Roman Mythology Table of Contents
Roman Mythology Table of Contents • Historical Overview • Major Gods and Goddesses of ancient Rome • Gods of Mt Olympus • Family Tree • Conclusion Historical Overview • The early Romans were farmers • They did not understand science, instead they believed in forces or spirits • These Gods did not have human forms or minds • Gradually the Romans were influenced by the Greeks and adopted many of their Gods and gave them Roman names Early Roman Gods and Goddesses • Some Early Roman Gods or “Numen” – Bellona Goddess of War – Cardea similar to Artemis, had power over doorways – Cupid God of love like the Greek Eros – Dis God of the underworld like the Greek Hades – Faunus God of fields and shepards like the Greek Pan – Glaucus God of the sea – Lares God of the household- represented dead ancestors who protected the family – Liber God of fertility, identified with Baccus, the god of wine – Saturn God of agriculture and the Roman like the Greek Cronus – Vesta Goddess of home and hearth similar to the Greek Hestia Jupiter • King of the Gods/Ruler of the Skies • Greek name is Zeus • Married to Juno • Symbols: Eagle, Shield, Thunderbolt and Oak Tree Neptune • God of the Sea • Second most powerful God on Mt.Olympus • Greek name is Poseidon • Symbols: Trident, Horse and Bull Pluto • God the under world and wealth • Greek name is Hades • Symbols: Helmet, Metals, Jewels Juno • Queen of the Gods • Goddess of Heaven, Marriage and Childbirth • Greek name is Hera • Married to Jupiter • Symbols: Peacock and Cow Vesta • Goddess of the Hearth. Protector of -
Star Maps, Earth Codes: an Interdisciplinary Exploration of Art and Astronomy
STAR MAPS, EARTH CODES: AN INTERDISCIPLINARY EXPLORATION OF ART AND ASTRONOMY By Danni Wei A capstone project submitted for Graduation with University Honors May 5, 2016 University Honors University of California, Riverside APPROVED _______________________________ Dr. Gabriela Canalizo Co-advisor, Dr. Mario De Leo Winkler Department of Physics and Astronomy _______________________________ Asher Hartman Department of Art ________________________________ Dr. Richard Cardullo, Howard H Hays Chair and Faculty Director, University Honors Associate Vice Provost, Undergraduate Education Abstract: The objective of this research-based creative activity is to formulate an experimental play that intersects fields of astronomy and art. My goal, in terms of audience reaction, is to provide: 1. A Sense of Wonder (emotional impact) 2. Opportunity for Involvement (physical impact) and 3. Information (intellectual impact) for my audience. The play acts as a cross-cultural exploratory vehicle, utilized to make connections with the Universe by understanding how sky lore from various ancient civilizations reflect their ways of life. The main inquiry is whether or not I am able to appropriate archaeoastronomical data to create a viable, wondrous artwork for the modern day person to connect with, while conveying scientific information at the same time. By researching peer-reviewed sources in both archaeoastronomy and art, I was able to come across an intersection—a few subjects of interest unbounded by cultures, religions, time, locations, and fields of study. The end result is the birth of a mixed media theatrical experience that envelops the singular Spectator with sky lore of the Orion constellation told across civilizations, animated by abstract puppets, lights, and sounds. The puppet theatre structure, which was stationed at UC Riverside's Phyllis Gill Gallery, was open by appointment only from December 5th to December 9th of 2015. -
Cosmic Hunt: Variants of a Siberian -– North-American Myth *
THE COSMIC HUNT: VARIANTS OF A SIBERIAN -– NORTH-AMERICAN MYTH * Yuri Berezkin Abstract The mythological motif of the Cosmic Hunt is peculiar to Northern and Cen- tral Eurasia and for the Americas but seems to be absent in other parts of the globe. Two distinct Eurasian versions demonstrate North-American par- allels at the level of minor details which could be explained only by particular historical links between corresponding traditions. The first version (three stars of the handle of the Big Dipper are hunters and the dipper itself is an animal; Alcor is a dog or a cooking pot) connects Siberian (especially Western Siberian) traditions with the North-American West (Salish, Chinook) and East (especially with the Iroquois). The second version (the Orion’s Belt rep- resents three deer, antelopes, mountain sheep or buffaloes; the hunter is Rigel or other star below the Orion's Belt; his arrow has pierced the game and is seen either as Betelgeuze or as the stars of Orion's Head) connects the South-Siberian – Central-Eurasian mythologies with traditions of North- American West – Southwest. Both variants unknown in Northeast Asia and in Alaska probably date to the time of initial settling of the New World. The circum-Arctic variant(s) (hunter or game are associated with Orion or the Pleiades) are represented by neighbouring traditions which form an almost continuous chain from the Lapps to the Polar Inuit. This version could be brought across the American Arctic with the spread of Tule Eskimo. Keywords: comparative, Siberian, Central Asian, American Indian, Eskimo mythology; star names in folk tradition; settling of America The mythological motif of the Cosmic Hunt (F59.2 according to S. -
Old Germanic Heritage in Metal Music
Lorin Renodeyn Historical Linguistics and Literature Studies Old Germanic Heritage In Metal Music A Comparative Study Of Present-day Metal Lyrics And Their Old Germanic Sources Promotor: Prof. Dr. Luc de Grauwe Vakgroep Duitse Taalkunde Preface In recent years, heathen past of Europe has been experiencing a small renaissance. Especially the Old Norse / Old Germanic neo-heathen (Ásatrú) movement has gained popularity in some circles and has even been officially accepted as a religion in Iceland and Norway among others1. In the world of music, this renaissance has led to the development of several sub-genres of metal music, the so-called ‘folk metal’, ‘Viking Metal’ and ‘Pagan Metal’ genres. Acknowledgements First and foremost I would like to thank my promoter, prof. dr. Luc de Grauwe, for allowing me to choose the subject for this dissertation and for his guidance in the researching process. Secondly I would like to thank Sofie Vanherpen for volunteering to help me with practical advice on the writing process, proof reading parts of this dissertation, and finding much needed academic sources. Furthermore, my gratitude goes out to Athelstan from Forefather and Sebas from Heidevolk for their co- operation in clarifying the subjects of songs and providing information on the sources used in the song writing of their respective bands. I also want to thank Cris of Svartsot for providing lyrics, translations, track commentaries and information on how Svartsot’s lyrics are written. Last but not least I want to offer my thanks to my family and friends who have pointed out interesting facts and supported me in more than one way during the writing of this dissertation.