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Appendix 1 1311 Discoverers in Alphabetical Order
Appendix 1 1311 Discoverers in Alphabetical Order Abe, H. 28 (8) 1993-1999 Bernstein, G. 1 1998 Abe, M. 1 (1) 1994 Bettelheim, E. 1 (1) 2000 Abraham, M. 3 (3) 1999 Bickel, W. 443 1995-2010 Aikman, G. C. L. 4 1994-1998 Biggs, J. 1 2001 Akiyama, M. 16 (10) 1989-1999 Bigourdan, G. 1 1894 Albitskij, V. A. 10 1923-1925 Billings, G. W. 6 1999 Aldering, G. 4 1982 Binzel, R. P. 3 1987-1990 Alikoski, H. 13 1938-1953 Birkle, K. 8 (8) 1989-1993 Allen, E. J. 1 2004 Birtwhistle, P. 56 2003-2009 Allen, L. 2 2004 Blasco, M. 5 (1) 1996-2000 Alu, J. 24 (13) 1987-1993 Block, A. 1 2000 Amburgey, L. L. 2 1997-2000 Boattini, A. 237 (224) 1977-2006 Andrews, A. D. 1 1965 Boehnhardt, H. 1 (1) 1993 Antal, M. 17 1971-1988 Boeker, A. 1 (1) 2002 Antolini, P. 4 (3) 1994-1996 Boeuf, M. 12 1998-2000 Antonini, P. 35 1997-1999 Boffin, H. M. J. 10 (2) 1999-2001 Aoki, M. 2 1996-1997 Bohrmann, A. 9 1936-1938 Apitzsch, R. 43 2004-2009 Boles, T. 1 2002 Arai, M. 45 (45) 1988-1991 Bonomi, R. 1 (1) 1995 Araki, H. 2 (2) 1994 Borgman, D. 1 (1) 2004 Arend, S. 51 1929-1961 B¨orngen, F. 535 (231) 1961-1995 Armstrong, C. 1 (1) 1997 Borrelly, A. 19 1866-1894 Armstrong, M. 2 (1) 1997-1998 Bourban, G. 1 (1) 2005 Asami, A. 7 1997-1999 Bourgeois, P. 1 1929 Asher, D. -
Choose the Best Answer
CONTEST CODE: 09 2015 TEXAS STATE JUNIOR CLASSICAL LEAGUE MYTHOLOGY TEST DIRECTIONS: Please mark the letter of the correct answer on your scantron answer sheet. 1. Earth-Shaker; god of the seas (A) Alcyoneus (B) Hades (C) Poseidon (D) Vulcan 2. The gods of Greece live on this mountain top (A) Aetna (B) Helicon (C) Olympus (D) Pelion 3. These woman were the Personification of beauty (A) Eumenides (B) Graces (C) Pierides (D) Telchines 4. A giant lion, invulnerable to weapons; he lived in this area when Heracles killed him (A) Erymanthus (B) Lerna (C) Nemea (D) Stymphalus 5. As an infant, he and his mother are put into a chest and dropped in the sea; rescued by a fisherman (A) Alpheus (B) Hippomenes (C) Melanion (D) Perseus 6. She was an Underworld goddess; a Titaness who had retained her position (A) Aurora (B) Hecate (C) Nemesis (D) Themis 7. This Gorgon’s stare could turn you into stone (A) Alecto (B) Euryale (C) Medusa (D) Terpsicrate 8. This powerful monster defeated Zeus at first, but was later conquered by the thunderbolts of Zeus (A) Cacus (B) Geryon (C) Phaea (D) Typhoeus 9. They were sent to punish the guilty and wicked (A) Fates (B) Furies (C) Graces (D) Graeae 10. Epimetheus accepted this woman as a gift from Zeus; but she was too curious and opened the box (A) Ariadne (B) Ismene (C) Leucothea (D) Pandora 11. She was the Muse of Comedy (A) Alecto (B) Euryale (C) Pemphredo (D) Thalia 12. He ignored his father’s instructions and flew too close to the sun; his wings fell apart (A) Cycnus (B) Icarus (C) Haemon (D) Xuthus 13. -
The Abuse of Patriarchal Power in Rome: the Rape Narratives of Ovid’S Metamorphoses
The Abuse of Patriarchal Power in Rome: The Rape Narratives of Ovid’s Metamorphoses A Thesis Submitted in Fulfilment of the Requirements for the Degree of Master of Arts in Classics By K. Tinkler Classics Department University of Canterbury 2018 Table of Contents Acknowledgements……………………………………………………………………………………………………………. 4 Abstract……………….…………………………………………………………………………………………………………….. 5 Introduction……………………………………………………………………………………………………………………….. 6 CHAPTER ONE: Gender in Rome………………………………………………………………………………………. 12 A Woman’s Place in a Man’s World: Patriarchy in Rome…………………………………………………… 12 Lucretia’s Legacy: The Cultural Template of the Raped Woman……………………………………….. 18 The Intimacy of Rape: The Body of a Woman in Antiquity…………………………………………………. 22 CHAPTER TWO: Rape in the Metamorphoses…………………………………………………………………… 29 The Rape Stories of the Metamorphoses………………………………………………………………………….. 29 The Characteristics of Ovid’s Perpetrators………………………………………………………………………… 30 Gods and Non-Human Perpetrators………………………………………………………………………………….. 34 The Characteristics of Ovid’s Victims…………………………………………………………………………………. 40 The Rape of Philomela………………………………………………………………………………………………………. 44 The Male Gaze………………………………………………………………………………………………………………….. 48 CHAPTER THREE: The Aftermath of Rape…………………………………………………………………………. 55 The Non-Metamorphic Consequences………………………………………………………………………………. 55 The Psychological Effect on the Victim……………………………………………………………………………… 60 The Eternal Link between the Victim and the Rapist…………………………………………………………. 63 The Second Rape: The Goddesses’ Wrath…………………………………………………………………………. -
The Iliad of Homer by Homer
The Project Gutenberg EBook of The Iliad of Homer by Homer This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Iliad of Homer Author: Homer Release Date: September 2006 [Ebook 6130] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ILIAD OF HOMER*** The Iliad of Homer Translated by Alexander Pope, with notes by the Rev. Theodore Alois Buckley, M.A., F.S.A. and Flaxman's Designs. 1899 Contents INTRODUCTION. ix POPE'S PREFACE TO THE ILIAD OF HOMER . xlv BOOK I. .3 BOOK II. 41 BOOK III. 85 BOOK IV. 111 BOOK V. 137 BOOK VI. 181 BOOK VII. 209 BOOK VIII. 233 BOOK IX. 261 BOOK X. 295 BOOK XI. 319 BOOK XII. 355 BOOK XIII. 377 BOOK XIV. 415 BOOK XV. 441 BOOK XVI. 473 BOOK XVII. 513 BOOK XVIII. 545 BOOK XIX. 575 BOOK XX. 593 BOOK XXI. 615 BOOK XXII. 641 BOOK XXIII. 667 BOOK XXIV. 707 CONCLUDING NOTE. 747 Illustrations HOMER INVOKING THE MUSE. .6 MARS. 13 MINERVA REPRESSING THE FURY OF ACHILLES. 16 THE DEPARTURE OF BRISEIS FROM THE TENT OF ACHILLES. 23 THETIS CALLING BRIAREUS TO THE ASSISTANCE OF JUPITER. 27 THETIS ENTREATING JUPITER TO HONOUR ACHILLES. 32 VULCAN. 35 JUPITER. 38 THE APOTHEOSIS OF HOMER. 39 JUPITER SENDING THE EVIL DREAM TO AGAMEMNON. 43 NEPTUNE. 66 VENUS, DISGUISED, INVITING HELEN TO THE CHAMBER OF PARIS. -
TSJCL Mythology
CONTEST CODE: 09 2012 TEXAS STATE JUNIOR CLASSICAL LEAGUE MYTHOLOGY TEST DIRECTIONS: Please mark the letter of the correct answer on your scantron answer sheet. 1. The myrtle and the dove are her symbols (A) Amphitrite (B) Aphrodite (C) Artemis (D) Athena 2. His wife left him and ran off to Troy with Paris; he was not happy about it and got some help (A) Agamemnon (B) Diomedes (C) Menelaus (D) Odysseus 3. This deity was the only one who worked; god of the Forge and Blacksmiths (A) Apollo (B) Hephaestus (C) Mercury (D) Neptune 4. He went searching for a bride and found Persephone (A) Aeacus (B) Hades (C) Poseidon (D) Vulcan 5. Half man, half goat, he was the patron of shepherds (A) Aeolus (B) Morpheus (C) Pan (D) Triton 6. He attempted to win the contest as Patron of Athens, but lost to Athena (A) Apollo (B) Hephaestus (C) Hermes (D) Poseidon 7. He performs Twelve Labors for his cousin as penance for crimes committed while mad (A) Aegeus (B) Heracles (C) Jason (D) Theseus 8. As punishment for opposing Zeus, he holds the Heavens on his shoulders (A) Atlas (B) Epimetheus (C) Oceanus (D) Prometheus 9. Son of Zeus, king of Crete, he ordered the Labyrinth built to house the Minotaur (A) Alpheus (B) Enipeus (C) Minos (D) Peleus 10. This wise centaur taught many heroes, including Achilles (A) Chiron (B) Eurytion (C) Nessus (D) Pholus 11. She was the Muse of Comedy (A) Amphitrite (B) Euphrosyne (C) Macaria (D) Thalia 12. She rode a white bull from her homeland to Crete and bore Zeus three sons (A) Danae (B) Europa (C) Leda (D) Semele 13. -
Estudos Clássicos
COIMBRA • 2016 61 1 BOLETIM DE ESTUDOS CLÁSSICOS ASSOCIAÇÃO PORTUGUESA DE ESTUDOS CLÁSSICOS INSTITUTO DE ESTUDOS CLÁSSICOS IMPRENSA DA UNIVERSIDADE DE COIMBRA COIMBRA UNIVERSITY PRESS BOLETIM DE ESTUDOS CLÁSSICOS • 61 BOLETIM DE ESTUDOS CLÁSSICOS PUBLICAÇÃO ANUAL ANNUAL PUBLICATION EM COLABORAÇÃO COLLABORATION da Associação Portuguesa Instituto de Estudos Clássicos da de Estudos Clássicos Faculdade de Letras da Universidade de Coimbra e Cento de Estudos Clássicos e Humanísticos DIRETOR DIRECTOR ASSISTENTE EDITORIAL EDITORIAL ASSISTANT Paula Barata Dias • [email protected] Elisabete Cação • [email protected] Universidade de Coimbra COMISSÃO EDITORIAL EDITORIAL BOARD COMISSÃO CIENTÍFICA SCIENTIFIC COMMITTEE Cláudia Teixeira • [email protected] Jaime Siles Ruiz • [email protected] Universidade de Évora, Portugal Universidade de Valência, Espanha José Luís Brandão • [email protected] Presidente da Sociedade Española Universidade de Coimbra, Portugal de Estudios Clásicos Rodrigo Furtado • [email protected] Fábio Faversani • [email protected] Universidade de Lisboa, Portugal Universidade de Ouro Preto, Brasil Presidente da Sociedade Brasileira EDIÇÃO PUBLISHING de Estudos Clássicos Imprensa da Universidade de Coimbra Laes Christian • [email protected] Email: [email protected] Université Libre de Bruxelles, Bélgica URL: http://www.uc.pt/imprensa_uc Francisco Oliveira • [email protected] Vendas online: http://livrariadaimprensa.uc.pt Universidade de Coimbra, Portugal Luigi Miraglia • [email protected] DIRETOR -
Rereading Death: Ethics and Aesthetics in the Ancient
REREADING DEATH: ETHICS AND AESTHETICS IN THE ANCIENT RECEPTION OF HOMERIC BATTLE NARRATIVE by Nicholas Kauffman A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, MD March, 2015 [Intended to be blank] ii Abstract In this dissertation, I examine the many famous death scenes in the Iliad and argue that their reception within antiquity reflects a lively and diverse discourse about the meaning of violence, and specifically of death in battle. As evidence of this reception, I consider later Greek epics and the exegetical tradition, viewing these texts using the methodological frameworks of intertextuality and reception studies. In the first chapter, I provide a descriptive analysis of the Iliad’s deaths and discuss the often conflicting interpretations of them advanced in modern scholarship. I argue that these deaths are underdetermined, that the text itself articulates no clear ideological framework within which to understand them, and I view this underdeterminedness as productive, in that it makes possible and even encourages dialogue among later readers. In the subsequent chapters I examine three texts that engage in this dialogue. First, I look at the death scenes in Apollonius’ Argonautica. Though these are largely constructed from Homeric motifs, I show that Apollonius consistently defamiliarizes these motifs and thus calls into question not only the formal qualities of the Iliadic narrative but also its ethical underpinnings. In Quintus of Smyrna’s Posthomerica, as I show in the following chapter, the deaths are designed to seem Homeric, and they are formally almost identical to their Iliadic counterparts. -
An Aristeia of Agamemnon E Bruce Brooks University of Massachusetts at Amherst WSW (5 Jan 2004)
33 An Aristeia of Agamemnon E Bruce Brooks University of Massachusetts at Amherst WSW (5 Jan 2004) I here attempt to disentangle Parry’s South Slavic data from his Homeric agenda, and to consider de novo the performance aspect of the early Iliad. Homer has been thought to be singly responsible for our Iliad. But to (1) compose separate tales of Troy, (2) assemble them into a bardic corpus,1 (3) draw on that corpus for a Wrath of Achilles poem,2 (4) update it for a more pacific audience sensibility, (5) bring it into closer agreement with the Odyssey,3 and (6) adjust it for performance at the Panathenaea,4 is not fit work for one man. We must choose. Mid 07c allusions5 put Homer in Stage 3; other evidence makes him contemporary with Hesiod (late 08c).6 These point to roughly the same period for the person with that name; earlier stages must be otherwise explained. I here suggest how a Stage 1 tale might be recovered from its incorporation into the Wrath poem (the Menis; Stage 3). Lays. How long were the Stage 1 tales of Troy? Parry (!or Huso 457-458) notes that a South Slavic epic performance is “a toil, and a good singer after a half hour of his song is drenched in sweat;” he reports a 58-minute long poem as delivered in segments of 20, 26, and 12 minutes. We may take 20 minutes (+ 6, -8) as a normal epic performance unit; a stint of two hours is very exceptional (Parry 458).7 The comings and goings of wedding guests or tavern regulars may interrupt a singer who does not interrupt himself (Parry 455); a long song must thus be viable as episodes. -
Cultural Heritage Studies
Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN Studi sul Patrimonio Culturale – Cultural Heritage Studies Ciclo XXX Settore Concorsuale: 11/A6 - SCIENZE STORICO-RELIGIOSE Scientifico Disciplinare: Settore M-STO/07 - Storia del Cristianesimo e delle Chiese Gathering the Shepherds Uses and Meanings of Pastoral Imagery and Shepherding Metaphors between 3rd and 6th Centuries Presentata da: Giulia Marchioni Coordinatore Dottorato Supervisore Salvatore Cosentino Luigi Canetti Esame finale anno 2018 CONTENTS 1. INTRODUCTION 1.1 Reality, Imagery and Metaphor 1-10 2. VISUAL 2.1 Pastoral & Bucolic Representations – a structural analysis 11-12 2.1.1 Bucolic representations in mythological images, genre scenes and sacral-idyllic landscape 13-34 2.1.2 Isolated shepherd and shepherd types 35-54 2.1.3 Animals, crooks and clothing: from features to attributes 55-67 2.1.4 Poimēn: a database of anthropomorphic pastoral images 68-74 2.2 Pastoral metaphors and Imagery – interpretations 75 2.2.1 Antonomasia 75-81 2.2.2 Hybrid Identities 82-99 2.2.3 The Good Shepherd and its misinterpretation 100-106 2.2.4 Christian representations of shepherds 107-123 3. VERBAL 3.1 Pastoral Vocabulary and Language 124 3.1.1 Shepherd & animals 125-132 3.2 Pastoral imagery in literature 133 3.2.1 Oriental Shepherd-Kings: Ancient Near East and pre-Hellenic cultures 133-141 3.2.2 Greek Shepherds: Homer and Pastoral genre 142-151 3.2.3 Shepherd characters in the Bible 152-161 3.2.4 Early Christian Literature 162-182 4. CONCLUSIONS 4. 1 Metaphors and Pastoral Imagery 183-191 List of illustrations 192-196 Bibliography and Webography 197-211 1. -
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. -
Battle Narrative in Virgil and Ovid
Battle Narrative in Virgil and Ovid Camilla Rose Christie CHRCAM001 A dissertation submitted in fulfilment of the requirements for the award of the degree of Masters in Latin Language and Literature University of Cape Town Faculty of the Humanities University of Cape Town September 2014 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town COMPULSORY DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature:_______________________________________ Date:_____________________ Abstract The intent of this thesis is to examine the stylistics of Latin epic narrative as used to narrate and describe extended battle sequences, and to explore the way in which Latin authors working during the Augustan Era engaged with Homeric techniques of oral narrative while composing written epic. A total of six extended battle sequences from the Aeneid of Virgil and the Metamorphoses of Ovid are examined and analysed with regard to their use of word order, simile, catalogue, and other such stylistic features. The overall aim is to consider Ovid’s literary debt to his immediate epic predecessor Virgil, together with the debt of both poets to Ancient Greek epic narrative, in such a way as to explore the various techniques of generic allusivity practised by both poets on a stylistic level. -
Dearness and Death in the Iliad
LITERATURE, LINGUISTICS & CRITICISM | CRITICAL ESSAY Dearness and death in the Iliad Eric Cullhed Cogent Arts & Humanities (2019), 6: 1686803 Page 1 of 16 Cullhed, Cogent Arts & Humanities (2019), 6: 1686803 https://doi.org/10.1080/23311983.2019.1686803 LITERATURE, LINGUISTICS & CRITICISM | CRITICAL ESSAY Dearness and death in the Iliad Eric Cullhed1* Abstract: Readers have often pointed out that representations of dying warriors in the Iliad, despite the impersonal, unreflective, heterodiegetic form of narration, are Received: 02 July 2019 typically suffused with a certain pathos. What do we mean by “pathos” in this Accepted: 25 October 2019 First Published: 31 October 2019 context? It is argued that we are referring to a group of distinguishable emotions related to affiliative attachment, elicited by a number of recurring motifs or situa- *Corresponding author: Eric Cullhed, Swedish Collegium for Advanced tion types. Characters perceived as dear and as embodying dear principles are Study and Department of Linguistics and Philology, Uppsala University, vulnerable, suffer and die, eliciting tenderness, compassion and grief, but also being Uppsala, Sweden moved and poignancy. Conceptualizations and expressions of these emotions in the E-mail: [email protected] Homeric text are discussed. It is further argued that the recurrent appeals to these Reviewing editor: Anezka Kuzmicova, Stockholms emotions throughout the poem cannot be defended against the charge of senti- Universitet, Sweden mentality by merely referring to the “noble restraint” manifested by the narrator’s Additional information is available at dispassionate tone in this context. The ruptured affiliative bonds that form the basis the end of the article for this pathos are not contemplated in an isolated, undisturbed fashion, but they are crucially presented as existing in opposition to other kinds of affective motiva- tions that push and pull the Homeric heroes in other directions.