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Naming the Extrasolar Planets
Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named. -
2013 Virginia Senior Classical League State Finals Certamen Level II NOTE to MODERATORS: in Answers, Information in Parentheses Is Optional Extra Information
2013 Virginia Senior Classical League State Finals Certamen Level II NOTE TO MODERATORS: in answers, information in parentheses is optional extra information. A slash ( / ) indicates an alternate answer. Underlined portions of a longer, narrative answer indicate required information. ROUND ONE 1. TOSSUP: Things in the Latin classroom can get rowdy. How would a Roman teacher have said, “Students, do not shout!”? ANS: NŌLĪTE CLĀMĀRE, DISCIPULĪ BONUS: Students may rebut by proclaiming that they are too excited about learning to settle down. Using the Latin verb commoveo, commovēre, say in Latin, “We are excited!” ANS: COMMOVĒMUR 2. TOSSUP: Which of the three Fates was the one who cut the thread of life? ANS: ATROPOS BONUS: What was the job of Lachesis? ANS: APPORTIONMENT (OF LOTS)/MEASURING 3. TOSSUP: Give the Latin phrase to describe how you would be treating your teammate if he gave an incorrect answer and you shunned him? ANS: PERSŌNA NŌN GRĀTA BONUS: You might think your teammate strange should he decide to eat a peanut butter and anchovy sandwich, to which he might reply “dē gustibus nōn est disputandum.” Translate this Latin phrase. ANS: THERE IS NO DEBATING/ARGUING CONCERNING TASTES / ONE MUST NOT DEBATE/ARGUE REGARDING TASTES. 4. TOSSUP: What female opened the gates of Rome for the soldiers of the Sabine army in exchange for “what they wore on their arms”? ANS: TARPEIA BONUS: What Roman king was a Sabine and the son-in-law of Titus Tatius? ANS: NUMA POMPILIUS 5. TOSSUP: For the verb sum, esse, give the third person singular future perfect active indicative. -
The Thebaid Europa, Cadmus and the Birth of Dionysus
The Thebaid Europa, Cadmus and the birth of Dionysus Caesar van Everdingen. Rape of Europa. 1650 Zeus = Io Memphis = Epaphus Poseidon = Libya Lysianassa Belus Agenor = Telephassa In the Danaid, we followed the descendants of Belus. The Thebaid follows the descendants of Agenor Agenor = Telephassa Cadmus Phoenix Cylix Thasus Phineus Europa • Agenor migrated to the Levant and founded Sidon • But see Josephus, Jewish Antiquities i.130 - 139 • “… for Syria borders on Egypt, and the Phoenicians, to whom Sidon belongs, dwell in Syria.” (Hdt. ii.116.6) The Levant Levant • Jericho (9000 BC) • Damascus (8000) • Biblos (7000) • Sidon (4000) Biblos Damascus Sidon Tyre Jericho Levant • Canaanites: • Aramaeans • Language, not race. • Moved to the Levant ca. 1400-1200 BC • Phoenician = • purple dye people Biblos Damascus Sidon Tyre Agenor = Telephassa Cadmus Phoenix Cylix Thasus Phineus Europa • Zeus appeared to Europa as a bull and carried her to Crete. • Agenor sent his sons in search of Europa • Don’t come home without her! • The Rape of Europa • Maren de Vos • 1590 Bilbao Fine Arts Museum (Spain) Image courtesy of wikimedia • Rape of Europa • Caesar van Everdingen • 1650 • Image courtesy of wikimedia • Europe Group • Albert Memorial • London, 1872. • A memorial for Albert, husband of Queen Victoria. Crete Europa = Zeus Minos Sarpedon Rhadamanthus • Asterius, king of Crete, married Europa • Minos became king of Crete • Sarpedon king of Lycia • Rhadamanthus king of Boeotia The Brothers of Europa • Phoenix • Remained in Phoenicia • Cylix • Founded -
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique Copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS BY LILIAN STOUGHTON HYDE YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republication of the work originally published by D. C. Heath and Company in 1904. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hundreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-261-4 ISBN-13: 978-1-59915-261-5 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE In the preparation of this book, the aim has been to present in a manner suited to young readers the Greek myths that have been world favorites through the centuries, and that have in some measure exercised a formative infl uence on literature and the fi ne arts in many countries. While a knowledge of these myths is undoubtedly necessary to a clear understanding of much in literature and the arts, yet it is not for this reason alone that they have been selected; the myths that have appealed to the poets, the painters, and the sculptors for so many ages are the very ones that have the greatest depth of meaning, and that are the most beautiful and the best worth telling. -
Mythology Study Questions
Greek Mythology version 1.0 Notes: These are study questions on Apollodorus’ Library of Greek Mythology. They are best used during or after reading the Library, though many of them can be used independently. In some cases Apollodorus departs from other NJCL sources, and those other sources are more authoritative/likely to come up on tests and in Certamen. In particular, it is wise to read the epics (Iliad, Odyssey, Aeneid, Metamorphoses) for the canonical versions of several stories. Most of these are in question form, and suitable for use as certamen questions, but many of the later questions are in the format of NJCL test questions instead. Students should not be worried by the number of questions here, or the esoteric nature of some of them. Mastering every one of these questions is unnecessary except, perhaps, for those aiming to get a top score on the NJCL Mythology Exam, compete at the highest levels of Certamen, and the like. Further, many of the questions here are part of longer stories; learning a story will often help a student answer several of the questions at once. Apollodorus does an excellent job of presenting stories succinctly and clearly. The best translation of the Library currently available is probably the Oxford Word Classics edition by Robin Hard. That edition is also excellent for its notes, which include crucial information that Apollodorus omits as well as comparisons with other versions of the stories. I am grateful for any corrections, comments, or suggestions. You can contact me at [email protected]. New versions of this list will be posted occasionally. -
Zeus in the Greek Mysteries) and Was Thought of As the Personification of Cyclic Law, the Causal Power of Expansion, and the Angel of Miracles
Ζεύς The Angel of Cycles and Solutions will help us get back on track. In the old schools this angel was known as Jupiter (Zeus in the Greek Mysteries) and was thought of as the personification of cyclic law, the Causal Power of expansion, and the angel of miracles. Price, John Randolph (2010-11-24). Angels Within Us: A Spiritual Guide to the Twenty-Two Angels That Govern Our Everyday Lives (p. 151). Random House Publishing Group. Kindle Edition. Zeus 1 Zeus For other uses, see Zeus (disambiguation). Zeus God of the sky, lightning, thunder, law, order, justice [1] The Jupiter de Smyrne, discovered in Smyrna in 1680 Abode Mount Olympus Symbol Thunderbolt, eagle, bull, and oak Consort Hera and various others Parents Cronus and Rhea Siblings Hestia, Hades, Hera, Poseidon, Demeter Children Aeacus, Ares, Athena, Apollo, Artemis, Aphrodite, Dardanus, Dionysus, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces [2] Roman equivalent Jupiter Zeus (Ancient Greek: Ζεύς, Zeús; Modern Greek: Δίας, Días; English pronunciation /ˈzjuːs/[3] or /ˈzuːs/) is the "Father of Gods and men" (πατὴρ ἀνδρῶν τε θεῶν τε, patḕr andrōn te theōn te)[4] who rules the Olympians of Mount Olympus as a father rules the family according to the ancient Greek religion. He is the god of sky and thunder in Greek mythology. Zeus is etymologically cognate with and, under Hellenic influence, became particularly closely identified with Roman Jupiter. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort is Dione: according to the Iliad, he is the father of Aphrodite by Dione.[5] He is known for his erotic escapades. -
Bacchylides 19 and Eumelus' Europia
Gaia Revue interdisciplinaire sur la Grèce archaïque 22-23 | 2020 Varia The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia La généalogie de Dionysos: Bacchylide 19 et l’Europia d’Eumélos Marios Skempis Electronic version URL: http://journals.openedition.org/gaia/512 ISSN: 2275-4776 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-199-7 ISSN: 1287-3349 Electronic reference Marios Skempis, « The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia », Gaia [Online], 22-23 | 2020, Online since 30 June 2020, connection on 17 July 2020. URL : http:// journals.openedition.org/gaia/512 This text was automatically generated on 17 July 2020. Gaia. Revue interdisciplinaire sur la Grèce archaïque The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia 1 The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia La généalogie de Dionysos: Bacchylide 19 et l’Europia d’Eumélos Marios Skempis 1 Bacchylides’ relation to the Epic Cycle is an issue under-appreciated in the study of classical scholarship, the more so since modern Standardwerke such as Martin West’s The Epic Cycle and Marco Fantuzzi and Christos Tsagalis’ The Greek Epic Cycle and Its Reception: A Companion are unwilling to engage in discussions about the Cycle’s impact on this poet.1 A look at the surviving Dithyrambs in particular shows that Bacchylides appropriates the Epic Cycle more thoroughly than one expects: Bacchylides 15 reworks the Cypria’s Request for Helen’s Return (arg. 10 W); Bacchylides 16 alludes to Creophylus’ Sack of Oechalia; Bacchylides 17 and 18 are instantiations of mythical episodes plausibly excerpted from an archaic Theseid; Bacchylides 19 opens and ends its mythical section with a circular mannerism that echoes the Thebaid’s incipit (fr. -
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters. -
Painture En Grisaille
Angular Momentum of Switzerland Verre Èglomisè - Peinture en Grisailles - Grisaille Grisaille gris French for grey‘ is a term for painting executed entirely in monochrome or near-monochrome, usually in shades of grey. It is particularly used in large decorative sche- mes in imitation of sculpture. Many grisailles in fact include a slightly wider colour range, lPaintings executed in brown are sometimes referred to by the more specific term brunaille, and paintings executed in green are sometimes called verdaille A grisaille may be executed for its own sake, as underpainting for an oil painting (in prepa- ration for glazing layers of color over it), or as a model for an engraver to work from. „Ru- bens and his school sometimes use monochrome techniques in sketching compositions for engravers. Full coloring of a subject makes many more demands of an artist, and working in grisaille was often chosen as being quicker and cheaper, although the effect was some- times deliberately chosen for aesthetic reasons. Grisaille paintings resemble the drawings, normally in monochrome, that artists from the Renaissance on were trained to produce; like drawings they can also betray the hand of a less talented assistant more easily than a fully colored painting. The term is also applied to monochrome painting in other media such as enamels, where an effect similar to a relief in silver may be intended. It is common in stained glass, where the need for sections in different colors was thereby greatly reduced. Portions of a window may be done in grisaille — using, for example, silver stain or vitreous paint — while other sec- tions are done in colored glass. -
The Chronology of Ancient Kingdoms Amended
THE CHRONOLOGY OF ANCIENT KINGDOMS AMENDED. To which is Prefix'd, A SHORT CHRONICLE from the First Memory of Things in Europe, to the Conquest of Persia by Alexander the Great. By Sir ISAAC NEWTON. LONDON: Printed for J. TONSON in the Strand, and J. OSBORN and T. LONGMAN in Pater-noster Row. MDCCXXVIII. TO THE QUEEN. MADAM, As I could never hope to write any thing my self, worthy to be laid before YOUR MAJESTY; I think it a very great happiness, that it should be my lot to usher into the world, under Your Sacred Name, the last work of as great a Genius as any Age ever produced: an Offering of such value in its self, as to be in no danger of suffering from the meanness of the hand that presents it. The impartial and universal encouragement which YOUR MAJESTY has always given to Arts and Sciences, entitles You to the best returns the learned world is able to make: And the many extraordinary Honours YOUR MAJESTY vouchsafed the Author of the following sheets, give You a just right to his Productions. These, above the rest, lay the most particular claim to Your Royal Protection; For the Chronology had never appeared in its present Form without YOUR MAJESTY's Influence; and the Short Chronicle, which precedes it, is entirely owing to the Commands with which You were pleased to honour him, out of your singular Care for the education of the Royal Issue, and earnest desire to form their minds betimes, and lead them early into the knowledge of Truth. -
Today, Thanks in No Small Part to the Writings of J.R.R. Tolkien and The
Today, thanks in no small part to the writings of J.R.R. Tolkien and the early role-playing game, Dungeons & Dragons, dragonslayers have once again become a staple part of modern storytelling and appear in books, comics, and movies too numerous to mention. But there were times, in centuries past, when people truly believed in dragons, when deadly giant serpents with poison breath could lurk in any hole or cave. Tose were the days of the great heroes. Tose were the days of the dragonslayers. 5 © Osprey Publishing • www.ospreypublishing.com Ancient Dragonslayers Many of the early stories of men battling against dragons come from the heroic tales of mythic Greece. In fact, the word ‘dragon’ derives from the Greek word ‘drakon’, meaning ‘a creature with scales’, usually a ‘serpent or sea-monster’. Unfortunately, this immediately leads to a problem. When the Ancient Greeks used the word ‘drakon’ they were not always referring to a creature that modern readers would recognize as a dragon. Tey could have meant a simple snake or even a shark-like sea-creature. For example, the ancient hero Perseus is sometimes said to have used the head of Medusa to rescue the princess Andromeda from a dragon. However, this is a misreading of ‘drakon’, for the creature described is truly a sea-monster and has no specifc dragon-like qualities beyond having scales. Despite this confusion, the tales of Ancient Greece are full of dragons in the form of giant serpents, often possessing multiple heads and breathing poisonous fumes. Unlike later myths, where dragons seem to have become a true species, almost all of the Greek examples are unique creatures, the ofspring of gods, Titans or other monsters. -
Apollodorus : the Library
JU\r(^ Qksl 7^ani-hSin THE LOEB CLASSICAL LIBRARY EDITED BY E. CAPPS, Ph.D., LL.D. T. E. PAGE, Litt.D. W. H. D. ROUSE, Litt.D. APOLLODORUS THE LIBRARY I APOLLODOEUS THE LIBRARY WITH AN ENGLISH TRANSLATION BY SIR JAMES GEORGE FRAZER, F.B.A., F.R.S. FELLOW OF TRINITY COLLEGE, CAMBRIDGE IN TWO VOLUMES I LONDON : WILLIAM HEINEMANN NEW YORK : G. P. PUTNAM'S SONS MCMXXI FEB " 3 !940 TO MY OLD TEACHER AND FRIEND HENRY JACKSON, O.M. CONTENTS PAGK INTRODUCTION ix SUMMARY xlv SYMBOLS EMPLOYED IN THE CRITICAL NOTES llX 1 BOOK I • 127 BOOK II 295 BOOK Til Vll ERRATA. , Vol. , 73 For " Thestius " read " Agrius." Vol. II. P. 54. For "later version" read "earlier version." — INTRODUCTION I. The Author and His Book. Nothing is positively known, and little can be conjectured with any degree of probability, con- cerning the author of the Library. Writing in the ninth century of our era the patriarch Photius calls him Apollodorus the Gi'ammarian,^ and in the manu- scripts of his book he is described as Apollodorus the Athenian, Grammarian. Hence we may con- clude that Photius and the copyists identified our author with the eminent Athenian grammarian of that name, who flourished about 140 b.c. and wrote a number of learned works, now lost, including an elaborate treatise On the Gods in twenty-four books, and a poetical, or at all events versified. Chronicle in four books. 2 But in modern times good reasons have been given for rejecting this identification,^ ^ Photius, Bibliotheca, p.