The Greek Underworld
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'Myth' and 'Religion'
THOUGHTS ON MYTH AND RELIGION IN EARLY GREEK HISTORIOGRAPHY Robert L. FOWLER University of Bristol [email protected] RESUMEN: El artículo examina el nacimiento del concepto de mythos/mito en el contexto de la historiografía y la mitografía de la Grecia arcaica. La posibilidad de oponerse a relatos tradicionales es un factor crítico en este proceso y se relaciona estrechamente con los esfuerzos de los autores por fijar su autoridad. Se compara la práctica de Heródoto con la de los primeros mitógrafos y, aunque hay amplias similitudes, hay diferencias cruciales en el tratamiento de los asuntos religiosos. Los escrúpulos personales de Heródoto responden en parte a su bien conocida reserva en lo referente a los dioses, pero es también relevante su actitud acerca de la tarea del historiador y su noción de cómo los dioses intervienen en la historia. Mientras que los mitógrafos tratan de historicizar la mitología, Heródoto trata de modo notable de desmitologizar la historia, separando ambas, pero al mismo tiempo definiendo con más profundidad que nunca sus auténticas interconexiones. Esta situación sugiere algunas consideraciones generales acerca de la relación entre mito y ritual en Grecia. ABSTRACT: The article examines the emerging concept of mythos/myth in the context of early Greek historiography and mythography. The possibility of contesting traditional stories is a critical factor in this process, and is closely related to the efforts of writers to establish their authority. Herodotos’ practice is compared with that of the early mythographers, and though there are some broad similarities, there are crucial differences in their approach to religious matters. -
Visitor Learning Guide
VISITOR LEARNING GUIDE 1 Produced by The Wilderness Society The Styx Valley of the Giants oers the opportunity to experience one of the world’s most iconic and spectacular forest areas. For decades the Wilderness Society has worked with the broader community to achieve protection for the Styx and we want to share it, and some of its stories, with you. This guide is not meant to be a comprehensive overview of the Styx, Tasmania’s forests or World Heritage. Rather, it is designed to share a cross-section of knowledge through simple stories that follow a common theme on each of the identified walks. With its help, we hope you will learn from this spectacular place, and leave knowing more about our forests, their natural and cultural legacy and some other interesting titbits. The Wilderness Society acknowledges the Tasmanian Aboriginal community as the traditional owners and custodians of all Country in Tasmania and pays respect to Elders past and present. We support eorts to progress reconciliation, land justice and equality. We recognise and welcome actions that seek to better identify, present, protect and conserve Aboriginal cultural heritage, irrespective of where it is located. Cover photo: A giant eucalypt in the Styx Valley, Rob Blakers. © The Wilderness Society, Tasmania 2015. STYX VALLEY OF THE GIANTS - VISITOR LEARNING GUIDE TO ELLENDALE MT FIELD FENTONBURY NATIONAL PARK WESTERWAY B61 TYENNA Tyenna River TO NEW NORFOLK TO LAKE PEDDER & HOBART & STRATHGORDON MAYDENA FOOD & ACCOMMODATION There’s some great accommodation and food options on your way to the Styx. Westerway • Blue Wren Riverside Cottage • Duy’s Country Accommodation Styx River • Platypus Playground Riverside Cottage Styx River . -
THE ARGONAUTIKA He'd Gone on His Vain Quest with Peirithoos: That Couple Would Have Made Their Task's Fulfillment Far Easier for Them All
Book I Starting from you, Phoibos, the deeds ofthose old-time mortals I shall relute, who by way ofthe Black Sea's mouth and through the cobalt-dark rocks, at King Pelias 's commandment, in search of the Golden Fleece drove tight-thwarted Argo. For Pelias heard it voiced that in time thereafter a grim fate would await him, death at the prompting of the man he saw come, one-sandaled, from folk in the country: and not much later-in accordance with your word-Jason, fording on foot the Anauros's wintry waters, saved from the mud one sandal, but left the other stuck fast in the flooded estuary, pressed straight on to have his share in the sacred feast that Pelias was preparing for Poseidon his father, and the rest of the gods, though paying no heed to Pelasgian Hera. The moment Pelias saw him, he knew, and devised him a trial of most perilous seamanship, that in deep waters or away among foreign folk he might lose his homecoming. ,\row singers before 7ny time have recounted how the vessel was fashioned 4 Argos with the guidance of Athena. IW~cctIplan to do now is tell the name and farnib of each hero, describe their long voyage, all they accomplished in their wanderings: may the Muses inspire mnj sinpng! First in our record be Orpheus, whom famous Kalliope, after bedding Thracian Oikgros, bore, they tell us, 44 THE XRGONAUTIKA hard by Pimpleia's high rocky lookout: Orpheus, who's said to have charmed unshiftable upland boulders and the flow of rivers with the sound of his music. -
1. Some of the Definitions of the Different Types of Objects in the Solar
1. Some of the definitions of the different types of objects in has the greatest orbital inclination (orbit at the the solar system overlap. Which one of the greatest angle to that of Earth)? following pairs does not overlap? That is, if an A) Mercury object can be described by one of the labels, it B) Mars cannot be described by the other. C) Jupiter A) dwarf planet and asteroid D) Pluto B) dwarf planet and Kuiper belt object C) satellite and Kuiper belt object D) meteoroid and planet 10. Of the following objects in the solar system, which one has the greatest orbital eccentricity and therefore the most elliptical orbit? 2. Which one of the following is a small solar system body? A) Mercury A) Rhea, a moon of Saturn B) Mars B) Pluto C) Earth C) Ceres (an asteroid) D) Pluto D) Mathilde (an asteroid) 11. What is the largest moon of the dwarf planet Pluto 3. Which of the following objects was discovered in the called? twentieth century? A) Chiron A) Pluto B) Callisto B) Uranus C) Charon C) Neptune D) Triton D) Ceres 12. If you were standing on Pluto, how often would you see 4. Pluto was discovered in the satellite Charon rise above the horizon each A) 1930. day? B) 1846. A) once each 6-hour day as Pluto rotates on its axis C) 1609. B) twice each 6-hour day because Charon is in a retrograde D) 1781. orbit C) once every 2 days because Charon orbits in the same direction Pluto rotates but more slowly 5. -
Folktale Types and Motifs in Greek Heroic Myth Review P.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic Quest
Mon Feb 13: Heracles/Hercules and the Greek world Ch. 15, pp. 361-397 Folktale types and motifs in Greek heroic myth review p.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic quest NAME: Hera-kleos = (Gk) glory of Hera (his persecutor) >p.395 Roman name: Hercules divine heritage and birth: Alcmena +Zeus -> Heracles pp.362-5 + Amphitryo -> Iphicles Zeus impersonates Amphityron: "disguised as her husband he enjoyed the bed of Alcmena" “Alcmena, having submitted to a god and the best of mankind, in Thebes of the seven gates gave birth to a pair of twin brothers – brothers, but by no means alike in thought or in vigor of spirit. The one was by far the weaker, the other a much better man, terrible, mighty in battle, Heracles, the hero unconquered. Him she bore in submission to Cronus’ cloud-ruling son, the other, by name Iphicles, to Amphitryon, powerful lancer. Of different sires she conceived them, the one of a human father, the other of Zeus, son of Cronus, the ruler of all the gods” pseudo-Hesiod, Shield of Heracles Hera tries to block birth of twin sons (one per father) Eurystheus born on same day (Hera heard Zeus swear that a great ruler would be born that day, so she speeded up Eurystheus' birth) (Zeus threw her out of heaven when he realized what she had done) marvellous infancy: vs. Hera’s serpents Hera, Heracles and the origin of the MIlky Way Alienation: Madness of Heracles & Atonement pp.367,370 • murders wife Megara and children (agency of Hera) Euripides, Heracles verdict of Delphic oracle: must serve his cousin Eurystheus, king of Mycenae -> must perform 12 Labors (‘contests’) for Eurystheus -> immortality as reward The Twelve Labors pp.370ff. -
Book 10 – the Kingdom of the Dead Hades (1) God of the Dead, Ruler of the Underworld, Which Was Accordingly Known As Hades
Book 10 – The Kingdom of the Dead Hades (1) God of the dead, ruler of the Underworld, which was accordingly known as Hades. In various adventures, Hades abducted the maiden Persephone, tricked the heroes Theseus and Peirithous and managed to get himself handcuffed by Sisyphus. The god Hades was a dread figure to the living, who were quite careful how they swore oaths in his name. To many people, simply to utter the word "Hades" was a frightening proposition. Realm of the dead, either underground or in the far West of the world known to the early Greeks - or both. Named for the god Hades, its ruler. Hades (2) As is not surprising, the ancient Greeks did not know what to expect after death. Notions of the afterlife were various and conflicting. Some thought that great heroes lucked out by traveling to the Elysian Fields, where they could hunt and feast and socialize in pleasant company for eternity, while commoners were consigned to a lifeless and boring abode in the Fields of Asphodel. First they'd drink the waters of Lethe, which caused them to lose all memory of their former lives and thus lack anything to talk about. In its earlier depictions, the underworld kingdom of Hades was such a dank and dark and moldering place that were it laid open to the heavens, the gods themselves would turn away in disgust. Persephone Beautiful daughter of Zeus and Demeter; sometimes considered an Olympian. While gathering flowers in a field one day, Persephone was abducted to the Underworld by Hades, who arose in his chariot from a fissure in the ground. -
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos By: Anmol Singh, Kesia Santos, and Yuri Seo Biographical, Cultural, and Historical Background The Greek Theater - Sophocles was one of the prominent figures in Greek theater. - Plays were performed in outdoor areas. - There were a limited number of actors and a chorus.6 - Antigone was mostly likely performed in the same fashion. AS Family Tree YS What do Scene 4, Ode 4, Scene 5, Paean and Exodos of Antigone focus on? - Family Conflict (internal and external) - Death (tragedy) - Poor judgment - Feeling and thinking - Fate - Loyalty - Love YS Genres & Subgenres Tragedy - Not completely like modern tragedies (ex. sad & gloomy). - Tragedies heavily used pathos (Greek for suffering). - Used masks and other props. - Were a form of worship to Dionysus.7 AS Tragic Hero - Antigone and Creon are both like tragic heros. - Each have their own hamartia which leads to their downfalls.8,9 AS Family Conflict & Tragedy in Antigone - Antigone hangs herself - Haimon stabs himself - Eurydice curses Creon and blames him for everything - Eurydice kills herself YS Dominant Themes Family: The story of Niobe - Antigone relates her story to the story of Niobe. - Antigone says “How often have I hear the story of Niobe, Tantalus’s wretched daughter…” (18) - Chorus tells Antigone that Niobe “was born of heaven,” but Antigone is a woman. YS Womanhood - Antigone defies the place a woman is supposed to have during this time period - Antigone and Ismene contrast each other - Creon is the prime example of the beliefs that males hold during this period KS Power and Corruption: Dryas and Lycurgus - A character the chorus compares to Antigone is Lycurgus. -
Leto As Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C
https://publications.dainst.org iDAI.publications ELEKTRONISCHE PUBLIKATIONEN DES DEUTSCHEN ARCHÄOLOGISCHEN INSTITUTS Dies ist ein digitaler Sonderdruck des Beitrags / This is a digital offprint of the article Lavinia Foukara Leto as Mother: Representations of Leto with Apollo and Artemis in Attic Vase Painting of the Fifth Century B.C. aus / from Archäologischer Anzeiger Ausgabe / Issue Seite / Page 63–83 https://publications.dainst.org/journals/aa/2027/6626 • urn:nbn:de:0048-journals.aa-2017-1-p63-83-v6626.5 Verantwortliche Redaktion / Publishing editor Redaktion der Zentrale | Deutsches Archäologisches Institut Weitere Informationen unter / For further information see https://publications.dainst.org/journals/aa ISSN der Online-Ausgabe / ISSN of the online edition 2510-4713 ISSN der gedruckten Ausgabe / ISSN of the printed edition Verlag / Publisher Ernst Wasmuth Verlag GmbH & Co. Tübingen ©2019 Deutsches Archäologisches Institut Deutsches Archäologisches Institut, Zentrale, Podbielskiallee 69–71, 14195 Berlin, Tel: +49 30 187711-0 Email: [email protected] / Web: dainst.org Nutzungsbedingungen: Mit dem Herunterladen erkennen Sie die Nutzungsbedingungen (https://publications.dainst.org/terms-of-use) von iDAI.publications an. Die Nutzung der Inhalte ist ausschließlich privaten Nutzerinnen / Nutzern für den eigenen wissenschaftlichen und sonstigen privaten Gebrauch gestattet. Sämtliche Texte, Bilder und sonstige Inhalte in diesem Dokument unterliegen dem Schutz des Urheberrechts gemäß dem Urheberrechtsgesetz der Bundesrepublik Deutschland. Die Inhalte können von Ihnen nur dann genutzt und vervielfältigt werden, wenn Ihnen dies im Einzelfall durch den Rechteinhaber oder die Schrankenregelungen des Urheberrechts gestattet ist. Jede Art der Nutzung zu gewerblichen Zwecken ist untersagt. Zu den Möglichkeiten einer Lizensierung von Nutzungsrechten wenden Sie sich bitte direkt an die verantwortlichen Herausgeberinnen/Herausgeber der entsprechenden Publikationsorgane oder an die Online-Redaktion des Deutschen Archäologischen Instituts ([email protected]). -
Greek and Roman Perceptions of the Afterlife in Homer's
McNair Scholars Journal Volume 11 | Issue 1 Article 2 2007 Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Jeff Adams Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/mcnair Recommended Citation Adams, Jeff (2007) Gr" eek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid," McNair Scholars Journal: Vol. 11: Iss. 1, Article 2. Available at: http://scholarworks.gvsu.edu/mcnair/vol11/iss1/2 Copyright © 2007 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. http://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol11%2Fiss1%2F2&utm_medium=PDF&utm_campaign=PDFCoverPages Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Abstract Homer’s Odyssey says that death “is the This study is a literary analysis of way of mortals, whenever one of them Homer’s Iliad and Odyssey and Virgil’s should die, for the tendons no longer Aeneid. Of specific interest are the hold flesh and bones together, but the interactions of Achilles, Odysseus, strong might of blazing fire destroys and Aeneas with their beloved dead. these things as soon as the spirit has left I focused on what each party, both the the white bones, and the soul, having living and the dead, wanted and the flown away like a dream, hovers about.”1 results of their interaction. Methods People have always been fascinated by included reading passages from the death and the afterlife. -
Interpretation: a Journal of Political Philosophy
Interpretation A JOURNAL A OF POLITICAL PHILOSOPHY Spring 1994 Volume 21 Number 3 Aristophanes' Mark Kremer Criticism of Egalitarianism: An Interpretation of The Assembly of Women Steven Forde The Comic Poet, the City, and the Gods: Dionysus' Katabasis in the Frogs of Aristophanes Tucker Landy Virtue, Art, and the Good Life in Plato's Protagoras Nalin Ranasinghe Deceit, Desire, and the Dialectic: Plato's Republic Revisited Olivia Delgado de Torres Reflections on Patriarchy and the Rebellion of Daughters in Shakespeare's Merchant of Venice and Othello Alfred Mollin On Hamlet's Mousetrap Joseph Alulis The Education of the Prince in Shakespeare's King Lear David Lowenthal King Lear Glenn W. Olsen John Rawls and the Flight from Authority: The Quest for Equality as an Exercise in Primitivism Book Reviews Will Morrisey The Roots of Political Philosophy: Ten Forgotten Socratic Dialogues, edited by Thomas L. Pangle John C. Koritansky Interpreting Tocqueville s "Democracy in America," edited by Ken Masugi Interpretation Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Executive Editor Leonard Grey General Editors Seth G. Benardete Charles E. Butterworth Hilail Gildin Robert Horwitz (d. 1987) Howard B. White (d. 1974) Consulting Editors Christopher Bruell Joseph Cropsey Ernest L. Fortin John Hallowell (d. 1992) Harry V. Jaffa David Lowenthal Muhsin Mahdi Harvey C. Mansfield, Jr. Arnaldo Momigliano (d. 1987) Michael Oakeshott (d. 1990) Ellis Sandoz Leo Strauss (d. 1973) Kenneth W. Thompson European Editors Terence E. Marshall Heinrich Meier Editors Wayne Ambler Maurice Auerbach Fred Baumann Michael Blaustein Patrick Coby Edward J. Erler Maureen Feder-Marcus Joseph E. Goldberg Stephen Harvey Pamela K. -
Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above. -
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.