2014 Tsjcl Myth
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
1. Antaeus the Conqueror Antaeus Is an Ancient Greek Mythological Person
Page 1 of 7 Yarra Valley Anglican Church – Sunday 24th May, 2020 Romans 8:31-39 God is for us, Therefore… All Things Work For Our Good Rev Matthew Smith 1. Antaeus the Conqueror Antaeus is an Ancient Greek Mythological person. He was the giant son of Poseidon, god of the Sea, And Gaia, god of the Earth. Antaeus was a legendary wrestler. He challenged everyone who passed by his area to a wrestling match. And he never lost; he was invincible, Antaeus conquered all. But there’s a secret to why he always won his wrestling matches. Antaeus drew strength from his mother, the earth. As long as he was in contact with the earth, he drew power. So think about: In Greek wrestling, like the Olympic sport, The goal is to force your opponents to the ground, Pinning them to the earth. But when Antaeus is pinned to the earth, His strength returns and grows, Enabling him to overcome his opponent. Now let’s be clear: This is myth. Fiction. Not historical truth. Greek Myth is very different to the Christian Gospel. Jesus Christ is not myth, not fiction. His life, his death, his resurrection, his ascension. It’s all a matter of historical record. We believe the Gospel because it’s all true. But while the story of Antaeus is a myth, It offers us an interesting illustration. Antaeus was the all-conquering wrestler. And Paul tells Christians in Romans 8: We are more than conquerors. 2. God is For Us Today we conclude our series on Romans ch.8. -
Seriously Playful: Philosophy in the Myths of Ovid's Metamorphoses
Seriously Playful: Philosophy in the Myths of Ovid’s Metamorphoses Megan Beasley, B.A. (Hons) This thesis is presented for the degree of Doctor of Philosophy of Classics of The University of Western Australia School of Humanities Discipline of Classics and Ancient History 2012 1 2 For my parents 3 4 Abstract This thesis aims to lay to rest arguments about whether Ovid is or is not a philosophical poet in the Metamorphoses. It does so by differentiating between philosophical poets and poetic philosophers; the former write poetry freighted with philosophical discourse while the latter write philosophy in a poetic medium. Ovid, it is argued, should be categorised as a philosophical poet, who infuses philosophical ideas from various schools into the Metamorphoses, producing a poem that, all told, neither expounds nor attacks any given philosophical school, but rather uses philosophy to imbue its constituent myths with greater wit, poignancy and psychological realism. Myth and philosophy are interwoven so intricately that it is impossible to separate them without doing violence to Ovid’s poem. It is not argued here that the Metamorphoses is a fundamentally serious poem which is enhanced, or marred, by occasional playfulness. Nor is it argued that the poem is fundamentally playful with occasional moments of dignity and high seriousness. Rather, the approach taken here assumes that seriousness and playfulness are so closely connected in the Metamorphoses that they are in fact the same thing. Four major myths from the Metamorphoses are studied here, from structurally significant points in the poem. The “Cosmogony” and the “Speech of Pythagoras” at the beginning and end of the poem have long been recognised as drawing on philosophy, and discussion of these two myths forms the beginning and end of the thesis. -
Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article. -
Page 1 Zeus + Plouto 18. Zeus + Electra Teucros Tantalos Oinomaos
Pe ops + Nippodameir da!shte6 Asa.acos Ganymedes Anchhes + Aphrodite8i']? Cl a Cytios !:r€9!: Elethyia Ares 0,2 Hephaitlos m laoetos +Asiar A".' Zeus + l'1a a Eecrn 3 other daughters 308 ovrD OYID 309 50 I musr endlcssly feel rhe los ofan absenr husband. Or of Euryrmchus and -Arrinous' ever srabbins hands? The towes ofTroy havc been razed; for me alone, tliey still remair, O. all lhe re$ whom you in your absence are alLowing to grow fet rhoush a vlcrorious scrder plows dle l.nd willt a caprured ox. on fie trcdures won at rhe cos ofyour blood? Where Troy once stood rherei; onLy a fietd of grah. The canh flourishes, Your final huniliation? Add to your lose the beggr Irus and fenilized by Phrygim blood. arvaiting the harvesring sickle. Melanthius, who drives you. flock ro feed rhe suiros'bellies. Cu*ed plowshr* str;ke the half-buried bones ofnen, \tre fe only three in number, allunsuircd fo. war-a powerles wife, and rhe ruins orfallen houses lie hidden arrong rhe weeds. your old fatheq Laenes, and Telemachus, just a boy, md him r-c,. w .pr :iC Though victorious, you arc still sone, and I have no way of krowhg I rJrnor lo.r ,e,er .ly ro " hryou. rlo- - h. r o why the delay. or where your unfeeling hearr is hidirg. ro.ait ro fyto, "grir r rhe, olJt h,orh,.. Every srilor who turns a foreign ship to these shores leaves I pray rhn the gods preserye rhe ba ral order ofrhe Fares, rhar only aftet answering numetous questions aboutyou, he willclose borh my eyes and yous on our fina.lda1s. -
The Formulaic Dynamics of Character Behavior in Lucan Howard Chen
Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Howard Chen All rights reserved ABSTRACT Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen This dissertation analyzes the three main protagonists of Lucan’s Bellum Civile through their attempts to utilize, resist, or match a pattern of action which I call the “formula.” Most evident in Caesar, the formula is a cycle of alternating states of energy that allows him to gain a decisive edge over his opponents by granting him the ability of perpetual regeneration. However, a similar dynamic is also found in rivers, which thus prove to be formidable adversaries of Caesar in their own right. Although neither Pompey nor Cato is able to draw on the Caesarian formula successfully, Lucan eventually associates them with the river-derived variant, thus granting them a measure of resistance (if only in the non-physical realm). By tracing the development of the formula throughout the epic, the dissertation provides a deeper understanding of the importance of natural forces in Lucan’s poem as well as the presence of an underlying drive that unites its fractured world. Table of Contents Acknowledgments ............................................................................................................ vi Introduction ...................................................................................................................... -
Streetsweepingmap.Pdf
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CLAS 4000 Seminar in Classics on Seneca's Thyestes and LATN 4002 Roman Drama
CLAS 4000 Seminar in Classics on Seneca’s Thyestes and LATN 4002 Roman Drama http://myweb.ecu.edu/stevensj/CLAS4000/2016syllabus.pdf Prof. John A. Stevens Spring 2016 Office: Ragsdale 133 [email protected] Office Hours: TTh 11-1:30 and by appt. (252) 328-6056 Objectives. Upon completion of this course, you will be able to: • Situate Senecan tragedy in the contexts of Roman literature, history and political philosophy • Analyze the elements of Roman Stoicism present in Seneca’s Thyestes • Characterize contemporary literary approaches to the play • Evaluate the play’s literary and philosophical elements as an integral whole Writing Intensive (WI) CLAS 4000 is a writing intensive course in the Writing Across the Curriculum Program at East Carolina University. With committee approval, this course contributes to the twelve-hour WI requirement for students at ECU. Additional information is available at: http://www.ecu.edu/writing/wac/. WI Course goals: • Use writing to investigate complex, relevant topics and address significant questions through engagement with and effective use of credible sources; • Produce writing that reflects an awareness of context, purpose, and audience, particularly within the written genres (including genres that integrate writing with visuals, audio or other multi-modal components) of their major disciplines and/or career fields; • Understand that writing as a process made more effective through drafts and revision; • Produce writing that is proofread and edited to avoid grammatical and mechanical errors; • Ability to assess and explain the major choices made in the writing process. • Students are responsible for uploading the following to iWebfolio (via Courses/Student Portfolio in OneStop): 1) A final draft of a major writing project from the WI course, 2) A description of the assignment for which the project was written, and 3) A writing self-analysis document (a component of our QEP). -
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. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
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). -
MONEY and the EARLY GREEK MIND: Homer, Philosophy, Tragedy
This page intentionally left blank MONEY AND THE EARLY GREEK MIND How were the Greeks of the sixth century bc able to invent philosophy and tragedy? In this book Richard Seaford argues that a large part of the answer can be found in another momentous development, the invention and rapid spread of coinage, which produced the first ever thoroughly monetised society. By transforming social relations, monetisation contributed to the ideas of the universe as an impersonal system (presocratic philosophy) and of the individual alienated from his own kin and from the gods (in tragedy). Seaford argues that an important precondition for this monetisation was the Greek practice of animal sacrifice, as represented in Homeric epic, which describes a premonetary world on the point of producing money. This book combines social history, economic anthropology, numismatics and the close reading of literary, inscriptional, and philosophical texts. Questioning the origins and shaping force of Greek philosophy, this is a major book with wide appeal. richard seaford is Professor of Greek Literature at the University of Exeter. He is the author of commentaries on Euripides’ Cyclops (1984) and Bacchae (1996) and of Reciprocity and Ritual: Homer and Tragedy in the Developing City-State (1994). MONEY AND THE EARLY GREEK MIND Homer, Philosophy, Tragedy RICHARD SEAFORD cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521832281 © Richard Seaford 2004 This publication is in copyright.