DOCSLIB.ORG

Disionario De Mitolojia Clasica

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Disionario De Mitolojia Clasica DISIONARIO DE MITOLOJIA CLASICA en lingua franca nova compilada par Vicente Costalago linguaje coretida par Simon Davies Prefasa La Disionario de Elefen defini mitolojia como “un colie de mitos, tipal parteninte a un tradision relijial o cultural” e “la studia de mitos”. En esta disionario, nos intende grupi la nomes xef de la mitolojia clasica, pd la mitolojia elinica e roman; acel nomes formi un parte de la tradision relijial o cultural de la Mar Mediteraneo antica, e los es du de la tre colonas sur cual la cultur european reposa (cristianisme es la colona tre). Esta es car la influe de la mitos elinica e roman pote es sentida an oji (esemplos de esta es, per esemplo, la filma Troia) e on pote vide como esta mitos es presente en la istoria de arte car los ia dona a la artistes un fonte nonconsumable de ideas per depintas e scultas, per libros, filmes e animas. Cisa con esta libro, los ci vole aprende plu sur esta cultures tra sua conseti relijial pote fa lo en lingua franca nova. Car nosa lingua es un lingua desendente de la linguas romanica, lo es un fia nondireta de latina e esta mitolojia es un parte de sua erita cultural. Vicente Costalago maio 2019 2 Introdui En esta disionario vos va trova sola du cortis: LA per refere a “lingua latina” e EL per refere a “lingua elinica”. Ambos es usada per indica como esta dios ia es nomida en un lingua o en la otra. Per transcrive la nomes elinica, nos ia usa regulas fundida sur los usada par latina e par linguas romanica, ma armoninte los con la regulas de ortografia de elefen. α a ν n ʽ h β b ξ x γ g ο o αι e δ d π p ει e ε e ρ r οι e ζ z σ, ς s ου u η e τ t θ t υ i ι i φ f γγ ng κ c χ c γκ nc λ l ψ ps γξ nx μ m ω o γχ nc La plu de nomes propre elinica cual fini con -οςος, -οςας, e -οςης perde la -οςς, e -ee--οςευς deveni -eo. Per esemplo, Αι νει!ας deveni Enea. La esetas es Acile, Ares, Atlas, Caos, Edipo, Eos, Eros, Hades, Hermes, Minos e Palas e Zeus. Otra finis (incluinte -οςις) es retenida. En nomes latina, ch, k e q deveni c; ph deveni f; rh deveni r; th deveni t; ae, ei e oe deveni e; y deveni i; e la i e u consonantal deveni j e v. La finis -us e -um deveni -o; -as e -es perde la -s como en nomes elinica; la esetas es Ceres e Venus. Leteras duple (incluinte la vocales) deveni singular. 3 A Abdero (EL Ἄβδηρος) — El ia aida Hercule en Aganipe (EL Ἀγανι!ππη) — Un crenea de la fonte sua taxe oto e ia es matada par la cavalos fema Aganipe. de Diomede. Agave (EL Ἀγαυ!η) — Fia de Cadmo e Harmonia, Aca Larentia (LA Acca Larentia) — Sposa de prinsesa de Tebas, sposa de Ecion e madre de Faustulo. Los ia eleva Romulo e Remo pos Penteo e Epiro. cuando sua sposo ia trova la enfantes con la Agenor (EL Ἀγη!νωρ) — Re fenisia de Tiro. Fio de lupo fema. Posedon e Libia, sposo de Telefasa e padre de Acama (EL Ἀκα!μας) — Fio de Fedra e Teseo, un Fenix, Cilix, Cadmo, Europa e Fineo. de la elinicas ci ia es en la cavalo de Troia. Aiax maior (EL Αι'ας e -ο( e -Τελαμω!νιος) — Fio de la Acaste (EL Ἀκαστη) — Un de la oceanides. El ia re Telamon e Periobea, duifrate de Telamon. El es entre la acompaniores de Persefone en Sisilia ia combate en la gera de Troia. cuando el ia es saisida par Hades. Aiax minor (EL Αι!ας e - ο e - Λοκρο!ς) — Ance Acate (EL Ἀχα!της) — Un eroe troian, ami de conoseda como Aiax Oileo, fio de Oileo, re de Enea, ci ia acompania el en sua viaja a Italia. El Locris. El ia combate per la aceanes en la gera ia mata Protesilao, la elinica prima ci ia desem- de Troia. barca en Troia. Alba Longa — Un site fundida par Ascanio. Aceron (EL Ἀχε!ρων) — Un de la sinco rios de Alcestis (EL Ἄλκηστις) — Un prinsesa, fia de enferno. Pelia e Anaxibia, famosa per sua ama a sua Acile (EL Ἀχιλλευ!ς) — Un eroe de la gera de sposo, la re Admeto. Troia, e la fio de Tetis e Peleo. Sua madre ia Alcimede (EL Ἀλκιμε!δη) — Madre de Iason e bani el en la Rio Stix, teninte el a la talon, e Promaco e sposa de Eson. donce el ia deveni nonmortal con eseta de sua Alcioneo (EL Ἀλκυονευ!ς) — Un jigante, fio de talon. El ia mori cuando Paris ia lansa un flexa Gea e de la sangue de Urano castrada, matada a el, gidada par Apolon. par Heracle. Aciroe (EL Ἀχιρ(ρ)ο!η; ance nomida Ancinoe aloades (EL Ἀλωα!δαι) — Du jigantes, Oto e Ἀγχινο!η) — Fia de la dio-rio Nilo e sposa de Efialte, fios de Ifimedia, sposa de Aloeo, e Belo. Madre de Danao e Egipto. Posedon. Forte e violente, ambos ia vole sposi Acteon (EL Άκται!ων) — Un eroe e xasor teban, Artemis, ci ia converti se a un servo e ia salta conoseda car el ia vide Artemis nuda baninte entre los. Desirante ce el no fuji, los ia lansa se. Per puni el, la diva ia cambia el a un servo sua lansias e ia mata lunlotra. cual sua canes de xasa ia devora. alseides (EL Ἀλσηι+δες) — Nimfas de bosces e Adastrea (EL Ἀδρα!στεια) — Un nimfa critica, fia valetas. de Meliseo, encargada a cura secreta la enfante Amaltea (EL Ἀμα!λθεια) — La madre tempora Zeus per proteje el de sua padre Crono. adotante de Zeus la plu notada, frecuente Admete (EL Ἀδμη!τη) — Un de la oceanides. El ia representada como la capra ci ia teti la dio- es entre la acompaniores de Persefone en Sisilia enfante en un cava en un monte. cuando el ia es saisida par Hades. amazona (EL Ἀμαζω!ν) — Un membro de un raza Admeto (EL Ἄδμητος) — Re de Fere (EL Φεραί)ρα )ί) mital de gerores fema. — E sposo de Alceste. ambrosia (EL α μβροσι!α) — La comeda prefereda Adonis (EL Άδωνις) — La amor mortal de de la dios elinica antica Afrodite. El ia mori en la manos de Afrodite, Amfitrion (EL Ἀμφιτρυ!ων) — Un jeneral teban lansida par un senglar enviada par Artemis. ci ia salva Tebas de la volpe teumesian. Sposo Afrodite (EL Ἀφροδι!τη) — La diva elinica de de Alcmena, madre de Hercule. ama. Amfitrite (EL Ἀμφιτρι!τη) — Un diva maral e Agamemnon (EL Ἀγαμε!μνων) — Re de Micene e sposa real de Posedon. comandor de la armada acean en la gera de Anax (EL Ἀναξ) — Un jigante de la isola Lade Troia. prosima a Miledo en Lidia, Anatolia. 4 Ancinoe (EL Ἀχιρ(ρ)ο!η / Ἀγχινο!η) — Un naiade, Argo Panopte (EL Ἄργος e - Πανο!πτης) — Un fia de la dio-rio Nilo, sposa de Belo e madre de jigante con sento oios, encargada a garda Io. Egipto e Danao. Ariadne (EL Ἀρια!δνη) — Fia de Minos, re de Ancise (EL Ἀγχι!σης) — La padre de Enea. Creta, ci ia aida Teseo a vinse la Minotauro e ia Andromace (EL Ἀνδρομα!χη) — La sposa de deveni la sposa de Dioniso. Hector. Aristeo (EL Ἀρισται,ος) — Fio de Apolon e la Andromeda (EL Ἀνδρομε!δα) — Un prinsesa nimfa Cirene, sposo de Autonoe e padre de itiopian, fisada a un roca asta cuando Perseo ia Acteon e Macri. Pos nase, el ia es elevada par la salva el. Musas, ci ia instrui el sur la eleva de abeas, la Angelo (EL Ἄγγελος) — Un fia de Zeus e Hera ci produi de ceso e modos per fa ce olivos dona ia deveni un diva de la sumundo. olivas. El ia deveni la padron de boves, xasa, Antenor (EL Ἀντη!νωρ) — Un conselor de la re cultiva e eleva de abeas. Priamo en la gera de Troia. Artemis — (EL Ἄρτεμις) La diva elinica de la Anteo (EL Ἀνται,ος) — Un jigante libi ci ia mata xasa, e protejor de virjines. tota visitores par combate. El ia es matada par Ascalafo (EL Ἀσκα!λαφος) — (1) Fio de Aceron. Heracle. El ia vide como Persefone ia come en la Antifate (EL Ἀντιφα!της) — La re de la Enfernos e ia informa Hades e Zeus. Demeter, lestrigones, jigantes ci ia come omes e ci per venja, ia lansa un petra sur el ma Heracle ia Odiseo ia encontra en sua viajas. aida el par libri el de su lo. (2) Fio de Ares e Antigona (EL Ἀντιγο!νη) — Fia de Edipo e sua Astioce, jemelo de Ialmeno. Corteor de Helena, sposa Iocasta, ci ia defia la re de Tebas, Creon, el ia debe vade a la Gera de Troia, do el ia es par entera sua frate Polinece. matada par un flexa lansada par Deifobo. Antiloco (EL Ἀντι!λοχος) — Fio de Nestor ci ia Asclepio (EL Ἀσκληπιο!ς; Esculapio per la sacrifia se per salva sua padre en la Gera de romanes) — La dio elinica de medica. Troia. Atalante (EL Ἀταλα!ντη) — Un eroe fema ci ia Antiope (EL Ἀντιο!πη) — Un amazona, saisida partisipa en la xasa de la senglar calidonian. par Teseo cuando Heracle ia atenta prende la Atama (EL Ἀθα!μας) — Fio de Eolo e Enarete. El sintur de sua sore Hipolita.
Load more

Recommended publications
  • Microfilms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Entre Ombre Et Lumière : Les Voix Féminines Dans Les Métamorphoses
    Entre ombre et lumière : les voix féminines dans les Métamorphoses Hélène Vial Fondée sur l’articulation entre les passions des âmes et les métamorphoses des corps, l’esthétique des Métamorphoses d’Ovide délivre à la fois une vision audacieuse du monde et une conception neuve de l’entreprise poétique, le texte ovidien étant investi d’une très forte dimension réflexive due notamment à la correspondance exacte entre son sujet, la métamorphose, et sa forme, une écriture de la variation1. Or, la densité métalittéraire du poème est particulièrement grande dans les passages où se trouvent associés deux motifs qui constituent le sujet même du présent volume : celui de la voix et celui de la féminité. D’une part, la question de la voix est centrale dans les Métamorphoses ; d’autre part, les mythes féminins y sont très nombreux et d’une grande richesse symbolique ; et quand le poète relie l’une aux autres, la voix féminine apparaît dotée d’une capacité particulièrement saillante « à être inductric[e] de poésie », comme le disait l’appel à communication du séminaire qui a donné naissance à ce livre2, autrement dit à faire signe vers l’écriture et à parler du projet poétique dans son entier. C’est cette capacité qui constitue l’objet de mon analyse : dans la foule des silhouettes mythiques qui traversent les Métamorphoses et dont la voix nous est donnée à entendre, y a-t- il une spécificité féminine ? Et plus précisément, que nous disent sur la conception ovidienne de la poésie les paroles prononcées par ces figures féminines de l’ombre et du mystère3
    [Show full text]
  • Tracts and Other Papers Relating Principally to the Origin, Settlement
    Library of Congress Tracts and other papers relating principally to the origin, settlement, and progress of the colonies in North America from the discovery of the country to the year 1776. Collected by Peter Force. Vol. 3 TRACTS AND OTHER PAPERS, RELATING PRINCIPALLY TO THE ORIGIN, SETTLEMENT, AND PROGRESS OF THE COLONIES IN NORTH AMERICA, FROM THE DISCOVERY OF THE COUNTRY TO THE YEAR 1776. 2 219 17?? Oct13 COLLECTED BY PETER FORCE. Vol. III. WASHINGTON: PRINTED BY WM. Q. FORCE. 1844. No. 2 ? Entered according to Act of Congress, in the year 1844, By PETER FORCE, In the Clerk's Office of the District Court of the District of' Columbia. 7 '69 CONTENTS OF THE THIRD VOLUME. 3 390 ? 62 I. A Trve Declaration of the estate of the Colonie in Virginia, with a confutation of such scandalous reports as haue tended to the disgrace of so worthy an enterprise. Published Tracts and other papers relating principally to the origin, settlement, and progress of the colonies in North America from the discovery of the country to the year 1776. Collected by Peter Force. Vol. 3 http://www.loc.gov/resource/lhbcb.7018c Library of Congress by aduise and direction of the Councell of Virginia. London, printed for William Barret, and are to be sold at the blacke Beare in Pauls Church-yard. 1610.—[28 pages.] II. For the Colony in Virginea Britannia. Lavves Diuine, Morall and Martiall, &c. Alget qui non Ardet. Res nostrœ subinde non sunt, quales quis optaret, sed quales esse possunt. Printed at London for Walter Burre.
    [Show full text]
  • Hesiod Theogony.Pdf
    Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
    [Show full text]
  • O'connor Leopardi RSI 4/98
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Flinders Academic Commons 1 FROM VENUS TO PROSERPINE: SAPPHO’S LAST SONG Desmond O’Connor Leopardi had shown interest in the ancient Greek poetess at least from 1814 when he included the translation of one of her poems in a small epithalamial collection of Scherzi epigrammatici tradotti dal greco:1 Oscuro è il ciel: nell’onde La luna già s’asconde, E in seno al mar le Pleiadi Già discendendo van. È mezzanotte, e l’ora Passa frattanto, e sola Qui sulle piume ancora Veglio ed attendo invan. When compared to the translation of the same fragment from Sappho’s lyrics made by his contemporary Foscolo and, in the twentieth century, by, for example, Quasimodo and Pontani, Leopardi’s “scherzo” is a far more liberal and personal rendition of the four-line Sappho original, especially noticeable in the emphasis on the pointless nocturnal expectancy (ll. 6-8), which may be considered an anticipation of ll. 41-43 of La sera del dì di festa of 1820. By contrast, Foscolo limits himself to imbuing the fragment with a melancholy air (“Sparir le Pleiadi / Sparì la luna, / È a mezzo il corso / La notte bruna; / Io sola intanto / Mi giaccio in pianto”),2 while Quasimodo, much later (1939) and almost as a tribute to Leopardi, underscores the transience of youth (“Tramontata è la luna / e le Pleiadi a mezzo della notte; / anche giovinezza già dilegua, / e ora nel mio letto resto sola”).3 A terse and more literal version of the original is that of modern Greek scholar Filippo Pontani (“È sparita la luna, / le Pleiadi.
    [Show full text]
  • Fossil Flora and Fauna of Bosnia and Herzegovina D Ela
    FOSSIL FLORA AND FAUNA OF BOSNIA AND HERZEGOVINA D ELA Odjeljenje tehničkih nauka Knjiga 10/1 FOSILNA FLORA I FAUNA BOSNE I HERCEGOVINE Ivan Soklić DOI: 10.5644/D2019.89 MONOGRAPHS VOLUME LXXXIX Department of Technical Sciences Volume 10/1 FOSSIL FLORA AND FAUNA OF BOSNIA AND HERZEGOVINA Ivan Soklić Ivan Soklić – Fossil Flora and Fauna of Bosnia and Herzegovina Original title: Fosilna flora i fauna Bosne i Hercegovine, Sarajevo, Akademija nauka i umjetnosti Bosne i Hercegovine, 2001. Publisher Academy of Sciences and Arts of Bosnia and Herzegovina For the Publisher Academician Miloš Trifković Reviewers Dragoljub B. Đorđević Ivan Markešić Editor Enver Mandžić Translation Amra Gadžo Proofreading Amra Gadžo Correction Sabina Vejzagić DTP Zoran Buletić Print Dobra knjiga Sarajevo Circulation 200 Sarajevo 2019 CIP - Katalogizacija u publikaciji Nacionalna i univerzitetska biblioteka Bosne i Hercegovine, Sarajevo 57.07(497.6) SOKLIĆ, Ivan Fossil flora and fauna of Bosnia and Herzegovina / Ivan Soklić ; [translation Amra Gadžo]. - Sarajevo : Academy of Sciences and Arts of Bosnia and Herzegovina = Akademija nauka i umjetnosti Bosne i Hercegovine, 2019. - 861 str. : ilustr. ; 25 cm. - (Monographs / Academy of Sciences and Arts of Bosnia and Herzegovina ; vol. 89. Department of Technical Sciences ; vol. 10/1) Prijevod djela: Fosilna flora i fauna Bosne i Hercegovine. - Na spor. nasl. str.: Fosilna flora i fauna Bosne i Hercegovine. - Bibliografija: str. 711-740. - Registri. ISBN 9958-501-11-2 COBISS/BIH-ID 8839174 CONTENTS FOREWORD ...........................................................................................................
    [Show full text]
  • Valerius Flaccus' Argonautica and Statius' Thebaid
    Echoing Hylas : metapoetics in Hellenistic and Roman poetry Heerink, M.A.J. Citation Heerink, M. A. J. (2010, December 2). Echoing Hylas : metapoetics in Hellenistic and Roman poetry. Retrieved from https://hdl.handle.net/1887/16194 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/16194 Note: To cite this publication please use the final published version (if applicable). CHAPTER 4 EPIC HYLAS : VALERIUS FLACCUS ’ ARGONAUTICA AND STATIUS ’ THEBAID Ganz erbärmlich ist (...) seine sklavische Abhängigkeit von Vergil. Ich dachte, etwas hat er doch gelesen, als ich VII 149 eine Anspielung auf den Orestes des Euripides, VII 301 auf die Bakchen fand. Aber beides stammt aus der Aeneis IV 479. von Wilamowitz-Moellendorf 1924, II, 165, n. 2 (on Valerius Flaccus’ Argonautica ) 1. Introduction: the epic potential of Valerius’ Hylas In the previous chapters it was argued that Hylas, in the Hellenistic and Augustan ages, was associated with Callimachean poetry. In Roman poetry, these poetics, as is well-known, were interpreted more rigidly than they were conceived of by Callimachus himself as anti-epic. 488 It is therefore striking that in Valerius Flaccus’ Flavian epic Argonautica , Hylas initially seems to fulfil an epic role. When the Greek heroes assemble to join the Argonautic expedition at the beginning of the epic and Hercules and Hylas are introduced, Hylas is described as happily carrying the hero’s weapons: Protinus Inachiis ultro Tirynthius Argis advolat, Arcadio cuius flammata veneno tela puer facilesque umeris gaudentibus arcus gestat Hylas; velit ille quidem, sed dextera nondum par oneri clavaeque capax.
    [Show full text]
  • Biodiversity and Ecosystem Management in the Iraqi Marshlands
    Biodiversity and Ecosystem Management in the Iraqi Marshlands Screening Study on Potential World Heritage Nomination Tobias Garstecki and Zuhair Amr IUCN REGIONAL OFFICE FOR WEST ASIA 1 The designation of geographical entities in this book, and the presentation of the material, do not imply the expression of any opinion whatsoever on the part of IUCN concerning the legal status of any country, territory, or area, or of its authorities, or concerning the delimitation of its frontiers or boundaries. The views expressed in this publication do not necessarily reflect those of IUCN. Published by: IUCN ROWA, Jordan Copyright: © 2011 International Union for Conservation of Nature and Natural Resources Reproduction of this publication for educational or other non-commercial purposes is authorized without prior written permission from the copyright holder provided the source is fully acknowledged. Reproduction of this publication for resale or other commercial purposes is prohibited without prior written permission of the copyright holder. Citation: Garstecki, T. and Amr Z. (2011). Biodiversity and Ecosystem Management in the Iraqi Marshlands – Screening Study on Potential World Heritage Nomination. Amman, Jordan: IUCN. ISBN: 978-2-8317-1353-3 Design by: Tobias Garstecki Available from: IUCN, International Union for Conservation of Nature Regional Office for West Asia (ROWA) Um Uthaina, Tohama Str. No. 6 P.O. Box 942230 Amman 11194 Jordan Tel +962 6 5546912/3/4 Fax +962 6 5546915 [email protected] www.iucn.org/westasia 2 Table of Contents 1 Executive
    [Show full text]
  • Personification in Ovid's Metamorphoses
    Personification in Ovid’s Metamorphoses: Inuidia, Fames, Somnus, Fama Maria Shiaele Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Classics August 2012 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. ©2012 The University of Leeds Maria Shiaele yia tovç yoveiç /lov for mum and dad IV Acknowledgements Throughout all these years of preparing this dissertation many people stood by my side and supported me intellectually, emotionally and financially to whom I would like to express my sincere thanks here. First of all, my deep gratitude goes to my supervisors Professor Robert Maltby and Dr Kenneth Belcher, for their unfailing patience, moral support, valuable criticism on my work and considerable insights. I thank them for believing in me, for being so encouraging during difficult and particularly stressful times and for generously offering their time to discuss concerns and ideas. It has been a great pleasure working with them and learning many things from their wide knowledge and helpful suggestions. Special thanks are owned to my thesis examiners, Dr Andreas Michalopoulos (National and Kapodistrian University of Athens) and Dr Regine May (University of Leeds), for their stimulating criticism and valuable suggestions. For any remaining errors and inadequacies I alone am responsible. Many thanks go to all members of staff at the Department of Classics at Leeds, both academic and secretarial, for making Leeds such a pleasant place to work in.
    [Show full text]
  • Adventures in the Classroom Creating Role-Playing Games Based on Traditional Stories for the High School Curriculum" (2012)
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 8-2012 Adventures in the Classroom Creating Role- Playing Games Based on Traditional Stories for the High School Curriculum Csenge Virág Zalka East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Educational Methods Commons, and the Game Design Commons Recommended Citation Zalka, Csenge Virág, "Adventures in the Classroom Creating Role-Playing Games Based on Traditional Stories for the High School Curriculum" (2012). Electronic Theses and Dissertations. Paper 1469. https://dc.etsu.edu/etd/1469 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Adventures in the Classroom Creating Role-Playing Games Based on Traditional Stories for the High School Curriculum ______________________ A thesis presented to the faculty of the Department of Curriculum and Instruction East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in Reading with a concentration in Storytelling ___________________ by Csenge V. Zalka August 2012 _________________ Dr. Joseph Sobol, Chair Delanna Reed Todd Emma Harold L. Daniels Keywords: Role-Playing, Games, Storytelling, High School, Education, Mythology, Folktales, Game Design ABSTRACT Adventures in the Classroom Creating Role-Playing Games Based on Traditional Stories for the High School Curriculum by Csenge V. Zalka The goal of this thesis is to develop a template for turning traditional stories into role-playing games for the high school curriculum.
    [Show full text]
  • The Rape of Persephone in a Berlin Papyrus *
    Les Études classiques 83 (2015), p. 237-260. THE RAPE OF PERSEPHONE IN A BERLIN PAPYRUS * 1. Introduction For the last century, scholars have discussed the existence of one or more Orphic poems about the rape and rescue of Persephone 1. Today, the Berlin Papyrus BKT 5. 1, p. 7-18 nº I 2, dated to the 2nd-1st BCE, is com- monly recognized to have traces of an ancient Orphic poem, which we know from various references 2. The papyrus contains a prose account in which there are some quotations of a poem attributed to Orpheus, but very similar to the Homeric Hymn to Demeter (h. Cer.) 3. For this reason the h. Cer. has traditionally served as the main reference for the reconstruction, analysis and study of this poem. Yet, the paraphrase of the poem relates a version of the rape which differs in many aspects from the h. Cer., so many questions have arisen about the relationship between these texts. Two main positions have been taken: either the Berlin Papyrus contains verses of a * This contribution is part of the Research Project “Fiestas dionisíacas fuera del Ática” (FFI 2012-31814), funded by the Spanish Ministerio de Economía y Competiti- vidad. 1. Following L. MALTEN (1909b), O. KERN (1922, p. 115-116) distinguishes four poems: (1) a very ancient poem, of which no fragments remain, but that would have been the source for Eur., Hel., 1301-1367; (2) a Sicilian poem preserved in a gold tablet from Thurii (OF 492); (3) a review of the Homeric Hymn to Demeter (h.
    [Show full text]
  • THE HOMERIC HYMNS a NEW PROSE TRANSLATION and ESSAYS, LITERARY and MYTHOLOGICAL, by Andrew Lang
    THE HOMERIC HYMNS A NEW PROSE TRANSLATION AND ESSAYS, LITERARY AND MYTHOLOGICAL, by Andrew Lang DEDICATION To Henry Butcher A Little Token of A Long Friendship p. vii PREFACE To translate the Hymns usually called "Homeric" had long been my wish, and, at the Publisher's suggestion, I undertook the work. Though not in partnership, on this occasion, with my friend, Mr. Henry Butcher (Professor of Greek in the University of Edinburgh), I have been fortunate in receiving his kind assistance in correcting the proofs of the longer and most of the minor Hymns. Mr. Burnet, Professor of Greek in the University of St. Andrews, has also most generously read the proofs of the translation. It is, of course, to be understood that these scholars are not responsible for the slips which may have wandered into my version, the work of one whose Greek has long "rups. tveiidi in disuse." Indeed I must confess that the rendering "Etin" for pelor is retained in spite of Mr. Butcher, who is also not wholly satisfied with "gledes of light," and with "shieling" for a pastoral summer station in the hills. But I know no word for it in English south of Tweed. Mr. A. S. Murray, the Head of the Classical Department in the British Museum, has also been good enough to read, and suggest corrections in the preliminary Essays; while Mr. Cecil Smith, of the British Museum, has obligingly aided in selecting the works of art here reproduced. The text of the Hymns is well known to be corrupt, in places impossible, and much mended by conjecture.
    [Show full text]