Athena and Poseidon Compete for a Coastal Town Athena Was the Goddess of Wisdom
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Poseidon Family - Manual HW Group
Poseidon family - Manual HW group Poseidon family www.HW-group.com 1 / 105 Poseidon family - Manual HW group First steps with Poseidon 1) Configure or verify (DHCP) the IP address using IP Config. IP Config is available for free at www.HW-group.com and on the supplied CD. 2) The main web page displays the product overview: 3) Detailed configuration is accessible via the Flash Setup link. See the next sections for details. www.HW-group.com 2 / 105 Poseidon family - Manual HW group Connecting the sensors 1-Wire / 1-Wire UNI (RJ11) Connect the sensor before powering up the Poseidon – the connector must click in. Maximum total distance on each active port is 60m. Sensors can be daisy-chained. Sensors can be also connected using a star topology with the T- Box (TBox2) hub. If you change the sensor topology, the sensors must be auto-detected again. (Web interface > Flash Setup > Sensor Setup > Autodetect Sensors) www.HW-group.com 3 / 105 Poseidon family - Manual HW group Industrial Bus sensors (RS-485) Industrial bus for connecting sensors over long distances Connect the sensors before powering up the unit. Sensors can be daisy-chained, or connected to a virtual star using the “S-Hub” unit. Terminate the RS485 line with a 120 Ω to 470 Ω terminator. Some sensors contain a built-in terminator, controlled with a jumper or a DIP switch. See the sensor manual. Check or set the sensor address. Each sensor on the RS-485 bus must have a unique address. The address (ID) is expressed as a letter (A..Z / a..z) or a number (65..122). -
The Contest Between Athena and Poseidon. Myth, History and Art
ANDRÁS PATAY-HORVÁTH The Contest between Athena and Poseidon. Myth, History and Art The myth was a well-known one in antiquity, and it is well-known even to- day. There are many versions in various extant literary sources1 and even some depictions in sculpture, vase painting and minor arts2. Surprisingly enough, the famous myth has not attracted much scholarly interest3. The modern commen- taries simply list the relevant passages, but hardly attempt a thorough comparative analysis4. The present paper (an updated, revised and abbreviated version of Patay-Horváth 2002a) would like to present a study, suggesting strong intercon- nections between Athenian history and the evolution of the myth. Beside the many familiar texts and works of art, I will also introduce a new piece of evidence, which has never been considered in this context and hope that it will become ap- parent, that the role of Poseidon and the sea is much more important in this myth than has generally been acknowledged. It is appropriate to begin with a fairly detailed version of the myth from the mythological textbook of Apollodorus (Bibl. III 14). It can serve as a very practi- cal introduction to the subject because it contains not only one version but some alternatives as well. Cecrops, a son of the soil, with a body compounded of man and serpent, was the first king of Attica, and the country which was formerly called Acte he named Cecropia after himself. In his time, they say, the gods resolved to take possession of cities in which each of them should receive his own peculiar wor- ship. -
Aspects of the Demeter/Persephone Myth in Modern Fiction
Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed. -
The Story of Icarus
The Story of Icarus King Minos looked out of the window and spotted the boat that his messenger had just mentioned. Ordinarily, he was not interested in those entering or leaving Crete but one of the passengers had been banished from Athens. All reports described him as a genius. He had even fooled Hercules with his inventions. The King smiled; this man was going to be very useful. A short while after Daedalus had arrived on the island of Crete, he was taken to the palace and asked to become the King’s master craftsman. “I have a way to use your skills,” explained the King. “There is a Minotaur who terrorises Crete and we have been unable to contain it. I need you to build a maze that it will not be able to escape from.” Pleased that his reputation had followed him, Daedalus set to work. Helped by his son, Icarus, the pair designed and built an incredible labyrinth. When it was finally finished, the Minotaur was captured and locked away. The people of Crete celebrated and thought that Daedalus and Icarus were heroes. Weeks later, Daedalus was approached by a man named Theseus. He explained to Daedalus that he planned to slay the Minotaur but that he needed Daedalus’s help to navigate the labyrinth. Unable to ignore the idea that this was a truly heroic act, Daedalus agreed. King Minos’s daughter joined them and the three completed their mission before escaping the labyrinth. Immediately, Theseus fled back to Athens with King Minos’s daughter beside him. -
The Shield of Heracles (Hes
chapter 4 The Shield of Heracles (Hes. Sc. 139–320) 4.1 Introduction The next extant ekphrasis in ancient Greek Literature is found in the pseudo- Hesiodic Shield. The Shield is a small-scale epic poem of 480 hexameters, named after its central section which deals with Heracles’ shield. The poem is usually dated to the first third of the sixth century BC. It narrates an episode from the life of Heracles: the killing of Cycnus, a son of Ares. Heracles is por- trayed throughout the poem in a positive light: Zeus has fathered Heracles as a protector against ruin for gods and for men (ὥς ῥα θεοῖσιν / ἀνδράσι τ’ ἀλφηστῇσιν ἀρῆς ἀλκτῆρα φυτεύσαι, 28–29).1 By killing Cycnus, who robs travellers on their way to Delphi, Heracles lives up to this purpose. The poem is generally regarded as a product of an oral tradition.2 The fact that the Shield is oral poetry has consequences for its understanding. Thus, the idea that the Shield is a mere imitation of Achilles’ shield in Il. 18.478–608— a verdict that goes back to Aristophanes of Byzantium—must be rejected.3 It is doubtful whether in the sixth century BC fixed texts of the Iliad existed, to which another text, that of the Shield, could refer.4 This is very much a Hellenis- tic point of view. Rather, it is more plausible that both texts came into being in a still-fluid oral tradition, which contained certain stock formulae and themes.5 One common element in the tradition might well have been a shield ekphrasis, which could serve as a showpiece of the poet.6 The poet of the Shield has indeed composed his shield ekphrasis as a show- piece: Heracles’ shield is noisier, more sensational, more gruesome, but above all bigger than Achilles’ shield. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. -
The Story of Orpheus and Eurydice in Coetzee and Rilke
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Debrecen Electronic Archive ACTA UNIVERSITATIS SAPIENTIAE, PHILOLOGICA, 8, 1 (2016) 41–48 DOI: 10.1515/ausp-2016-0003 The Story of Orpheus and Eurydice in Coetzee and Rilke Ottilia VERES Partium Christian University (Oradea, Romania) Department of English Language and Literature [email protected] Abstract. J. M. Coetzee’s The Master of Petersburg (1994) is a text about a father (Dostoevsky) mourning the death of his son. I am interested in the presence and meaning of the myth of Orpheus and Eurydice in the novel, compared to the meaning of the myth in R. M. Rilke’s poem “Orpheus. Eurydice. Hermes.” (1904). I read the unaccomplished encounter between Orpheus and Eurydice as a story that portrays the failed intersubjectity plot of Coetzee’s novel(s). Following Blanchot’s reading of the myth, I examine the contrasting Orphean and Eurydicean conducts – Orpheus desiring but, at the same time, destroying the other and Eurydice declining the other’s approach. I argue that Orpheus’s and Eurydice’s contrasting behaviours can be looked at as manifestations of a failure of love, one for its violence, the other for its neglect, and thus the presence of the myth in The Master of Petersburg is meaningful in what it says about the theme of intersubjectivity in Coetzee’s oeuvre. Keywords: Orpheus, Eurydice, encounter, intersubjectivity. J. M. Coetzee’s seventh novel, The Master of Petersburg (1994), is a novel about the trauma of losing a son; it is a mourning text both in the sense that in it the protagonist Dostoevsky tries to work through the trauma of loss (and through him Coetzee tries to work through the trauma of the loss of his own son1) and in the sense that the novel textually performs the work of mourning by trying – and failing – to understand this loss. -
Athena ΑΘΗΝΑ Zeus ΖΕΥΣ Poseidon ΠΟΣΕΙΔΩΝ Hades ΑΙΔΗΣ
gods ΑΠΟΛΛΩΝ ΑΡΤΕΜΙΣ ΑΘΗΝΑ ΔΙΟΝΥΣΟΣ Athena Greek name Apollo Artemis Minerva Roman name Dionysus Diana Bacchus The god of music, poetry, The goddess of nature The goddess of wisdom, The god of wine and art, and of the sun and the hunt the crafts, and military strategy and of the theater Olympian Son of Zeus by Semele ΕΡΜΗΣ gods Twin children ΗΦΑΙΣΤΟΣ Hermes of Zeus by Zeus swallowed his first Mercury Leto, born wife, Metis, and as a on Delos result Athena was born ΑΡΗΣ Hephaestos The messenger of the gods, full-grown from Vulcan and the god of boundaries Son of Zeus the head of Zeus. Ares by Maia, a Mars The god of the forge who must spend daughter The god and of artisans part of each year in of Atlas of war Persephone the underworld as the consort of Hades ΑΙΔΗΣ ΖΕΥΣ ΕΣΤΙΑ ΔΗΜΗΤΗΡ Zeus ΗΡΑ ΠΟΣΕΙΔΩΝ Hades Jupiter Hera Poseidon Hestia Pluto Demeter The king of the gods, Juno Vesta Ceres Neptune The goddess of The god of the the god of the sky The goddess The god of the sea, the hearth, underworld The goddess of and of thunder of women “The Earth-shaker” household, the harvest and marriage and state ΑΦΡΟΔΙΤΗ Hekate The goddess Aphrodite First-generation Second- generation of magic Venus ΡΕΑ Titans ΚΡΟΝΟΣ Titans The goddess of MagnaRhea Mater Astraeus love and beauty Mnemosyne Kronos Saturn Deucalion Pallas & Perses Pyrrha Kronos cut off the genitals Crius of his father Uranus and threw them into the sea, and Asteria Aphrodite arose from them. -
Greek God Quiz Answer Sheet
Greek God Answer Key 1 - How would your friends describe you? A – Generous – point for Hepheastus B – Determined – point for Artemis, Hera C – Creative – point for Apollo, Demeter D – Stubborn – point for Zeus, Ares E - Go with the flow – point for Aphrodite, Poseidon F - Smarty Pants – point for Athena G - Silly – point for Dionysus, Hermes 2 - What colour are your eyes? A – Blue – point for Hermes, Poseidon B - Dark Brown – point for Dionysus, Ares C - Light Brown – point for Hepaestus, Apollo D – Hazel – point for Zeus, Artemis E – Gray – point for Athena, Aphrodite F – Green – point for Demeter, Hera 3 - What object would you most likely be found with? A - The latest gadget – point for Hermes, Hephaestus B - A video game – point for Artemis, Hera, Ares C - A musical instrument – point for Apollo, Aphrodite D - A book – point for Athena, Zeus E - A snack – point for Dionysus, Demeter F - Swimming or boating gear – point for Poseidon 4 - What’s your ideal vacation spot? A - The forest – point for Hermes, Artemis B - The beach – point for Poseidon, Aphrodite C - The mountains – point for Zeus, Hera D - An amusement park – point for Dionysus, Ares E - The big city - point for Hephaestus, Apollo F - The countryside – point for Athena, Demeter 5 - Which of these animals is your favourite? A – Eagle - point for Hermes, Zeus B – Pig – point for Demeter C – Owl – point for Hephaestus D – Peacock – point for Hera E – Deer – point for Artemis F – Dolphin – point for Poseidon G – Cow – point for Dionysus H – Horse – point for Athena, Apollo I -
Ares and Artemis: the Autonomous Roving Exploration System for Active Source Seismology on the Moon S
ARES AND ARTEMIS: THE AUTONOMOUS ROVING EXPLORATION SYSTEM FOR ACTIVE SOURCE SEISMOLOGY ON THE MOON S. W. Courville1, N. E. Putzig1, P. C. Sava2, T. D. Mikesell3, M. R. Perry1;2, 1Planetary Science Institute, Lakewood, CO. 2Colorado School of Mines, Golden, CO. 3Boise State University, Boise, ID. ([email protected]) Introduction: NASA’s Artemis program will en- able a sustainable human presence on the Moon. A key objective of the program is to investigate water ice within regolith in the lunar south pole, which could provide fuel and life support. The origin and concentration of water ice in lunar regolith is not well understood. Determining the concentration of water ice at the surface and whether it persists with depth could help determine if the ice was delivered by comets or is endogenic [1]. We propose active seismic surveying to quantify re- golith ice content at lunar south pole landing sites. The ice content in lunar regolith is likely correlated with seis- Figure 1: The ARES concept illustrated over icy regolith mic shear wave velocity. Seismic surface wave analysis layering on the Moon. Figure 4 shows a numerical sim- of analog permafrost material on Earth has demonstrated ulation of this scenario. that shear wave velocity increases dramatically with ice vide configurability and redundancy to collect enough content [2,3]. We suggest using surface wave analy- data to survey a landing site. sis to measure ice content in near surface regolith on the Receivers: For the receiver rover, we consider the Moon. Additionally, seismic refraction analysis would small and nimble 10kg Resource Prospector rover pro- reveal subsurface layering within the near surface [4]. -
Conference Booklet II
Teacher Training For Classical Teachers SAVING WESTERN CIVILIZATION ONE STUDENT AT A TIME THIRD GRADE LESSON PLAN II LESSON II Latin Saying FIRST CONJUGATION Mater Itáliae — Roma the mother of italy — rome 1 Opening Vocabulary Teacher: Salvete, amici Latinae aqua water aquarium, aqueduct (Hello, friends of Latin) glória glory glorify, glorious Students: Salve, magister / magistra Itália Italy (Hello, teacher) memória memory memorial Teacher: Súrgite (Stand up) Roma Rome victória victory victorious Teacher: Oremus (Let us pray) vita life vitamin All: Table Blessing návigo I sail navigate Music: Christus Vincit paro I prepare preparation specto I look at spectator 2 Recitation - cue words amo Grammar Forms 1st Conjugation - Present Tense 3 Latin Saying present stem: voca- Mater Itáliae — Roma Person Singular Plural The mother of Italy — Rome 1st voco I call vocamus we call This saying is from the Roman 2nd vocas you call vocatis you all call historian Florus. The ideals and 3rd vocat he/she/it calls vocant they call language of Rome became the source of unity for the diverse peoples of the Italian peninsula, and eventually the whole Mediterranean world. NOTE: Itáliae is the genitive singular (possessive) of the noun Itália. The first 12 Lesson II declension will be introduced in Lesson 3. 6 Grammar NOTE: You will notice that the student text used amo last lesson and is using voco this lesson. Students began with amo because it is the traditional model verb of the 1st conjugation, with the phrase "amo, amas, amat" being a Latin saying in its own right. However, voco is a superior model verb because it lacks an a in the stem, allowing students to distinguish more clearly between the stem and ending (e.g., amamus vs. -
Greek Mythology
Greek mythology Mythical characters Gods and goddesses Zeus is the king of the gods, ruler of Mount Olympus and god of the sky. His name means ‘bright’ or ‘sky’. His royal animals are the eagle and bull. Zeus’s favourite weapon is a lightning bolt made for him by the Cyclops. Zeus can be a greedy and dishonest god. If he desires something, he is unlikely to let anything stop him from gaining it. Because of this, he often lies about his behaviour to Hera, his wife. Hera is the queen of the gods and wife of Zeus. She is the goddess of women, marriage, childbirth, heirs, kings and empires. She often carries a lotus- tipped staff. Hera never forgets an insult or injury and can be cruel or vengeful. Poseidon is the god of rivers, seas, floods, droughts and earthquakes. Brother to Zeus, he is the king of the sea and protector of all waters. Poseidon carries a trident: a spear with three points. His sacred animals are the dolphin and the horse. Athena is the goddess of wisdom, intelligence, skill, peace and warfare. According to legend, she was born out of Zeus’s forehead fully formed and fully armoured. She looks over heroes such as Odysseus and Hercules. Athena is often accompanied by a sacred owl. Her symbol is the olive tree. KS2 | Page 1 copyright 2019 Greek mythology Gods and goddesses Aphrodite is the goddess of love and beauty, who can cause gods or mortals to fall in love with whomever she chooses. Aphrodite’s sacred animals include doves and sparrows.