The Death of Tragedy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Heracles's Weariness and Apotheosis in Classical Greek Art
Dourado Lopes, Antonio Orlando Heracles's weariness and apotheosis in Classical Greek art Synthesis 2018, vol. 25, nro. 2, e042 Dourado Lopes, A. (2018). Heracles's weariness and apotheosis in Classical Greek art. Synthesis, 25 (2), e042. En Memoria Académica. Disponible en: http://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.10707/pr.10707.pdf Información adicional en www.memoria.fahce.unlp.edu.ar Esta obra está bajo una Licencia Creative Commons Atribución-NoComercial-CompartirIgual 4.0 Internacional https://creativecommons.org/licenses/by-nc-sa/4.0/ ARTÍCULO / ARTICLE Synthesis, vol. 25, nº 2, e042, diciembre 2018. ISSN 1851-779X Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Centro de Estudios Helénicos Heracles's weariness and apotheosis in Classical Greek art Agotamiento físico y apoteosis de Heracles en el arte clásico griego Antonio Orlando Dourado Lopes Universidad Federal de Minas Gerais, Brasil [email protected] Resumen: Este estudio propone una interpretación general de las imágenes realizadas en Grecia, a partir del siglo V a. C. en monedas, joyas, pinturas de vasijas y esculturas, que muestran el agotamiento físico de Heracles y su apoteosis divina. Luego de una extendida consideración de los principales trabajos académicos que abordaron el tema desde finales del siglo XIX, procuro mostrar que la representación iconográfica del agotamiento de Heracles y de su apoteosis da testimonio de la influencia de nuevas concepciones religiosas y filosóficas en su mito, fundamentalmente del pitagorismo, del orfismo y de los cultos mistéricos, así como del fuerte intelectualismo de la Atenas del siglo V a. C. -
The Apotheosis of He#Rakle#S on Olympus and the Mythological Origins of the Olympics
The apotheosis of He#rakle#s on Olympus and the mythological origins of the Olympics The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2019.07.12. "The apotheosis of He#rakle#s on Olympus and the mythological origins of the Olympics." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/the-apotheosis-of- herakles-on-olympus-and-the-mythological-origins-of-the- olympics/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41364811 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. -
Vespasian's Apotheosis
VESPASIAN’S APOTHEOSIS Andrew B. Gallia* In the study of the divinization of Roman emperors, a great deal depends upon the sequence of events. According to the model of consecratio proposed by Bickermann, apotheosis was supposed to be accomplished during the deceased emperor’s public funeral, after which the senate acknowledged what had transpired by decreeing appropriate honours for the new divus.1 Contradictory evidence has turned up in the Fasti Ostienses, however, which seem to indicate that both Marciana and Faustina were declared divae before their funerals took place.2 This suggests a shift * Published in The Classical Quarterly 69.1 (2019). 1 E. Bickermann, ‘Die römische Kaiserapotheosie’, in A. Wlosok (ed.), Römischer Kaiserkult (Darmstadt, 1978), 82-121, at 100-106 (= Archiv für ReligionswissenschaftW 27 [1929], 1-31, at 15-19); id., ‘Consecratio’, in W. den Boer (ed.), Le culte des souverains dans l’empire romain. Entretiens Hardt 19 (Geneva, 1973), 1-37, at 13-25. 2 L. Vidman, Fasti Ostienses (Prague, 19822), 48 J 39-43: IIII k. Septembr. | [Marciana Aug]usta excessit divaq(ue) cognominata. | [Eodem die Mati]dia Augusta cognominata. III | [non. Sept. Marc]iana Augusta funere censorio | [elata est.], 49 O 11-14: X[— k. Nov. Fausti]na Aug[usta excessit eodemq(ue) die a] | senatu diva app[ellata et s(enatus) c(onsultum) fact]um fun[ere censorio eam efferendam.] | Ludi et circenses [delati sunt. — i]dus N[ov. Faustina Augusta funere] | censorio elata e[st]. Against this interpretation of the Marciana fragment (as published by A. Degrassi, Inscr. It. 13.1 [1947], 201) see E. -
A Reconsideration of Some Fourth-Century British Mosaics
Originalveroffentlichung in: Britannia 11, 1980, S. 289-301 A Reconsideration of some Fourth-Century British Mosaics By REINHARD STUPPERICH oman Britain in late antiquity is an area of special interest to the archaeologist, because life was flourishing peacefully there at a time when we hear about disorder and destruc R tion afflicting the nearby provinces on the continent. Nevertheless - and this perhaps increases the interest - we know very little about cultural life, about the state of education and knowledge in the British provinces at this time. The Channel, which protected Britain from the majority of the invaders, might seem to have had its effect also on the cultural influx from Gaul. The literary sources, which very seldom mention Britain after the Severi, provide scarcely any useful information. There is virtually no one prominent in literary or even political life known to have come from Britain. Nor do we know anything about the cultural effect of the court of the British usurpers or of the presence of Constantius Chlorus and his son Constantine.1 A. A. Barrett has recently considered this problem and has rehearsed all the quotations and reminiscences which give evidence of the influence of classical literature in Britain.2 This is very helpful, but is too restrictive for the general question of the degree of education to be found in fourth-century Britain. One has to look for more than purely literary reflections, for other traces indicating knowledge ultimately derived from traditional education or the reading of classical authors. A wider formulation of the question will necessarily lead to a less precise yet nonetheless interesting answer. -
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. -
Major Themes and Motifs in the Dionysiaca
chapter 6 Major Themes and Motifs in the Dionysiaca Fotini Hadjittofi A feature which will immediately strike the first-time reader of Nonnus’ Dionysiaca is the poet’s penchant for creating formulaic scenes or expressions: verses can be repeated verbatim or in a slightly varied form, and passages can be recast several times, with different protagonists and only minor alterations.1 These recurrent scenes and expressions are certainly a manifestation of Nonnus’ aesthetic principle of ποικιλία (variatio),2 and have an obvious role to play in structuring the poem. For example, in looking for unifying threads that would tie together the disparate episodes of the Dionysiaca, scholars have identified a set of close structural parallels between the first and last books of the epic.3 Thus, the narrative proper begins with a rape (of Europa, by Zeus) and ends with a rape (of Aura, by Dionysus). The Typhonomachy, in which Zeus defeats Typhoeus, in Books 1–2 corresponds to the Gigantomachy, in which Dionysus defeats the Giants of Thrace, in Book 48. The tragic narratives of Actaeon (Book 5) and Pentheus (Books 44–46) clearly echo each other. Even though this chapter will often focus on the thematic correspondences between the first and last books (as themes which appear in these narratively privileged positions are likely to be fundamental for the whole poem), it does not aim to explore structural questions, such as how far we can push these particular similarities and to what extent Nonnus was indeed striving for a perfect ring composition.4 My aim is to provide an outline of the most important themes and motifs which recur throughout the entire epic, and which will be studied 1 The formularity of Nonnus’ language will not concern me in this chapter, but see D’Ippolito in this volume. -
Origins of Apotheosis in Ancient Egypt by Julia Dawn Troche B.A
Origins of Apotheosis in Ancient Egypt By Julia Dawn Troche B.A., University of California, Los Angeles, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of of Doctor of Philosophy in the Department of Egyptology and Assyriology at Brown University Providence, Rhode Island May 2015 © Copyright 2015 by Julia Troche The dissertation by Julia Dawn Troche is accepted in its present form by the Department of Egyptology and Assyriology as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date______________________ ____________________________________ James P. Allen, Advisor Recommended to the Graduate Council Date______________________ ____________________________________ Laurel Bestock, Reader Date______________________ ____________________________________ Elizabeth Frood, Reader Approved by the Graduate Council Date______________________ ____________________________________ Peter Weber, Dean of the Graduate School iii Curriculum Vitae Julia Dawn Troche was born November 17, 1986 in Long Beach, California. She earned a B.A. from the University of California, Los Angeles where she majored in History, received College Honors, and graduated Magna Cum Laude. From 2007-2008, Julia was also a Departmental Scholar in the Department of Near Eastern Langauges and Cultures and wrote a thesis entitled “Political Implications of Hatshepsut’s Building Program in the Greater Theban Region.” After graduation Julia taught high school English and World History at High Bluff Academy in San Diego, California before enrolling in her Ph.D. program at Brown University in 2009. During her time at Brown University Julia has taught her own undergraduate course, “Daily Life in Ancient Egypt,” and taught for the Summer at Brown Program for five years, including the classes “Middle Egyptian Hieroglyphs,” “Ancient Egyptian Religion and Magic,” and “Art and Archaeology of Ancient Egypt.” Julia also worked at the Brown University Writing Center where she received training in teaching English for English Language Learners. -
Dionysiac Imagery in Archaic Etruria Dimitris Paleothodoros University of Thessaly
Etruscan Studies Journal of the Etruscan Foundation Volume 10 Article 15 2007 Dionysiac Imagery in Archaic Etruria Dimitris Paleothodoros University of Thessaly Follow this and additional works at: https://scholarworks.umass.edu/etruscan_studies Recommended Citation Paleothodoros, Dimitris (2007) "Dionysiac Imagery in Archaic Etruria," Etruscan Studies: Vol. 10 , Article 15. Available at: https://scholarworks.umass.edu/etruscan_studies/vol10/iss1/15 This Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Etruscan Studies by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Dionysiac Imagery in Archaic Etruria by Dimitris Paleothodoros he emergence of Etruscan Dionysiac iconography was made possibLe by the adop - tion and imitation of prototypes found on imported Attic vases 1. The first TDionysiac images produced by Etruscan craftsmen date to 550 BC and are found on bLacK-figured vases by the Paris Painter, and the painters of the Ivy-Leaf and the La ToLfa Groups. Between the mid 6th and mid 5th centuries BC, Etruscan artists decorate aLmost 170 bLacK-figured and added-red vases with Dionysiac images, 13% of the totaL pro - duction of figured vases. 2 This group of images, suppLemented by other pieces of evidence, such as mirror engravings and bronze statuettes, forms the basis of the present study, which is the preLiminary report of a thorough investigation of Dionysus in archaic Etruria. In the recent past, schoLars have deveLoped the concept of “Dionysism without Dionysus,” to account for the paradox of the scarcity of Dionysus’ images in archaic Etruria, in contrast to the great popuLarity of images of his foLLowers, i.e. -
Representations of Mormonism in American Culture Jeremy R
University of New Mexico UNM Digital Repository American Studies ETDs Electronic Theses and Dissertations 8-19-2011 Imagining the Saints: Representations of Mormonism in American Culture Jeremy R. Ricketts Follow this and additional works at: https://digitalrepository.unm.edu/amst_etds Part of the American Studies Commons Recommended Citation Ricketts, eJ remy R.. "Imagining the Saints: Representations of Mormonism in American Culture." (2011). https://digitalrepository.unm.edu/amst_etds/37 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in American Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Jeremy R. Ricketts Candidate American Studies Departmelll This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Commillee: , Chairperson Alex Lubin, PhD &/I ;Se, tJ_ ,1-t C- 02-s,) Lori Beaman, PhD ii IMAGINING THE SAINTS: REPRESENTATIONS OF MORMONISM IN AMERICAN CULTURE BY JEREMY R. RICKETTS B. A., English and History, University of Memphis, 1997 M.A., University of Alabama, 2000 M.Ed., College Student Affairs, 2004 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy American Studies The University of New Mexico Albuquerque, New Mexico May 2011 iii ©2011, Jeremy R. Ricketts iv DEDICATION To my family, in the broadest sense of the word v ACKNOWLEDGMENTS This dissertation has been many years in the making, and would not have been possible without the assistance of many people. My dissertation committee has provided invaluable guidance during my time at the University of New Mexico (UNM). -
1 Catholic Transtemporality Through the Lens of Andrea Pozzo and The
1 Catholic Transtemporality through the Lens of Andrea Pozzo and the Jesuit Catholic Baroque A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Emily C. Thomason August 2020 © 2020 Emily C. Thomason. All Rights Reserved. 2 This thesis titled Catholic Transtemporality through the Lens of Andrea Pozzo and the Jesuit Catholic Baroque by EMILY C. THOMASON has been approved for the School of Art + Design and the College of Fine Arts by Samuel Dodd Lecturer, School of Art + Design Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract THOMASON, EMILY C, M.A., August 2020, Art History Catholic Transtemporality through the Lens of Andrea Pozzo and the Jesuit Catholic Baroque Director of Thesis: Samuel Dodd Andrea Pozzo was a lay brother for the Order of the Society of Jesus in the late seventeenth and early eighteenth centuries who utilized his work in painting, architecture, and writing to attempt to create an ideal expression of sacred art for the Counter- Reformation Catholic Church. The focus of this study is on Pozzo’s illusionary paintings in Chiesa di Sant’Ignazio di Loyola in Rome as they coincide with his codification of quadratura and di sotto in su, as described through perspectival etchings and commentary in Perspectiva Pictorum et Architectorum. This thesis seeks to understand the work of Pozzo in context with his Jesuit background, examining his work under the lens of Saint Ignatius of Loyola’s Spiritual Exercises, as well as the cultural, political, and religious climates of Rome during the Counter-Reformation era. -
Fathers of the Catholic Church
OF THE CATHOLIC CHURCH. A BRIEF EXAMINATION OF THE "FALLING AWAY" OF THE CHURCH IN THE FIRST THREE CENTURIES. BY E. J. WA woivER. " To the law and to the testimony; If they speak not according to this word, it is because there is no light in them " Isa. 8 : no. PACIFIC PRESS PUBLISHING COMPANY, OAKLAND, CAL., SAN FRANCISCO AND NEW YORK. 1888. ../1.-1 if 6 VI\ • Entered according to Act of Congress in the ye. 1883, by "Pacific "Press 'Publishing T,o') In the nice of the Librarain of Congress, Washington, D. C. ALL RIGHTS RESERVED. PAC \ \C PRESS ?URA \SH\IAG Co'MAVIN, 01,‘\_Ati3O, CAI., PR‘cliv_Rs, FAV_OIROVIPERS , 1,1A0 Bmzuks. PREFACE. THIS book is the outgrowth of some extracts which I copied into a pocket scrap-book a few years ago, thinking that it would often be convenient to have at hand the exact words of a few reliable historians, concerning the Fathers and their work, when the histories themselves might not be accessible. It soon occurred to me that something similar would be of value to others, especially since the Fathers are being appealed to more and more, and it is ithpossible for the majority, even of ministers, always to have access to their writings. Accordingly, extracts were made on a more extensive scale, and were woven together, the result being this book, which is in reality a brief account of the rise of that antichristian structure called the papacy, which was built on the foundation of the so-called Fathers, the hea- then philosopher Plato being the chief corner-stone. -
Abstract Keywords Emanuela MURGIA Dionysian
Emanuela MURGIA Dionysian-themed African mosaics: some reflections* Abstract The African provinces, maybe more than other regions of the Empire, are known to have delivered pavements characterized by a Dionysiac theme (Dionysos, satyrs, bacchantes, other members of his thiasos, Dionysiac emblems such ad vines, masks, etc.). The meaning to be related to those mosaics is very debated, in particular whether to consider them as reliable sources or not to define the traits of the African Dionysism. To resolve the issue, it is necessary to study the mosaics in their own context. This contribution intends to analyse, as an example, theoecus mosaic from the ‘House of Silenus’ at El Jem-Thysdrus, aiming to clarify if it could be intended in a symbolic interpretation (i.e. the scene allude to certain aspects of the Dionysiac mysteries) as it is traditionally proposed. Keywords El Jem-Thysdrus, carpet-vine, Dionysos, Casa del Sileno, liknon, Dionysiac myths, Dionysiac repertory, cult, mosaics, Vergil, ritual, mysteries 393 EMANUELA MURGIA The study of images depicting deities, myths or rites, and especially those pertaining to a domestic context, give rise to a many issues for reflection concerning methodology1. It is beyond doubt that such documents are not merely to be understood in terms of the decorative sphere, but are often of great significance not only when seeking to identify the aesthetic preferences of whoever commissioned them, but also their cultural iden- tity2. It is equally true, however, that only by adopting a global approach in relation to the entire sum of available data relating to their context3 is it possible to shed light on the ‘status’ of those images which have effectively been described as «aux limites du religieux»4 (and, it must be said, even such an approach is not always successful).