Poseidon's Eris with Athena in the West Pediment of The
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Godsheroes Childrens Lettersize
Dear Friends, In the 17th century, the notion began to develop in England and other European countries that knowledge of classical antiquity was essential to a child’s education in order to understand the roots of Western civilization. The need to travel to the lands that gave rise to Western traditions is as strong today as it was 300 years ago. We are pleased to inform you of this program offered by Thalassa Journeys for families to explore the most important ancient centers of Greece, places that have contributed so much to the formation of our civilization. Thalassa Journeys has hosted similar programs for members and friends of the Chamber Music Society of Lincoln Center, and other prestigious organizations. The tour, solely sponsored and operated by Thalassa Journeys, will provide a joyful learning experience for the entire family – children, parents, and grandparents. Please note: children must be age 5 and above to participate in the programs. The itinerary is designed to enlighten the senses and inflame the imagination of people of all ages and to awaken their minds to the wonders of classical antiquity including the Acropolis and its glorious past. Young explorers and adults will delve into the Bronze Age Mycenaean civilization and the world of Homer. They will discover the citadel of Mycenae, home of Agamemnon. At the magnificent 4th century BC Theater of Epidaurus, families will learn about ancient Greek drama and consider the connections between theatrical performances and healing; in Nemea, one of the four places where in antiquity athletic contests were held, children will compete in mock races in the original ancient stadium. -
Dionysus, Wine, and Tragic Poetry: a Metatheatrical Reading of P.Koln VI 242A=Trgf II F646a Anton Bierl
BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of P.Koln VI 242A=TrGF II F646a Anton Bierl EW DRAMATIC PAPYRUS1 confronts interpreters with many ~puzzling questions. In this paper I shall try to solve some of these by applying a new perspective to the text. I believe that this fragment is connected with a specific literary feature of drama especially prominent in the bnal decades of the bfth century B.C., viz. theatrical self-consciousness and the use of Dionysus, the god of Athenian drama, as a basic symbol for this tendency. 2 The History of the Papyrus Among the most important papyri brought to light by Anton Fackelmann is an anthology of Greek prose and poetry, which includes 19 verses of a dramatic text in catalectic anapestic tetrameters. Dr Fackelmann entrusted the publication of this papyrus to Barbel Kramer of the University of Cologne. Her editio princeps appeared in 1979 as P. Fackelmann 5. 3 Two years later the verses were edited a second time by Richard Kannicht and Bruno Snell and integrated into the Fragmenta Adespota in 1 This papyrus has already been treated by the author in Dionysos und die griechische Trag odie. Politische und 'metatheatralische' Aspekte im Text (Tiibingen 1991: hereafter 'Bieri') 248-53. The interpretation offered here is an expansion of my earlier provisional comments in the Appendix, presenting fragments of tragedy dealing with Dionysus. 2 See C. -
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. -
The Contest Between Athena and Poseidon. Myth, History and Art
ANDRÁS PATAY-HORVÁTH The Contest between Athena and Poseidon. Myth, History and Art The myth was a well-known one in antiquity, and it is well-known even to- day. There are many versions in various extant literary sources1 and even some depictions in sculpture, vase painting and minor arts2. Surprisingly enough, the famous myth has not attracted much scholarly interest3. The modern commen- taries simply list the relevant passages, but hardly attempt a thorough comparative analysis4. The present paper (an updated, revised and abbreviated version of Patay-Horváth 2002a) would like to present a study, suggesting strong intercon- nections between Athenian history and the evolution of the myth. Beside the many familiar texts and works of art, I will also introduce a new piece of evidence, which has never been considered in this context and hope that it will become ap- parent, that the role of Poseidon and the sea is much more important in this myth than has generally been acknowledged. It is appropriate to begin with a fairly detailed version of the myth from the mythological textbook of Apollodorus (Bibl. III 14). It can serve as a very practi- cal introduction to the subject because it contains not only one version but some alternatives as well. Cecrops, a son of the soil, with a body compounded of man and serpent, was the first king of Attica, and the country which was formerly called Acte he named Cecropia after himself. In his time, they say, the gods resolved to take possession of cities in which each of them should receive his own peculiar wor- ship. -
Revenge of the Sea God
REVENGE OF THE SEA GOD Stories from Homer’s Odyssey dramatised for performance by young people Neil Rathmell REVENGE OF THE SEA GOD CAST in order of appearance Sailors Odysseus Lotus Eaters Sheep Poseidon Hermes Zeus Circe Ghosts Teiresias Athene 2 REVENGE OF THE SEA GOD SCENE 1 Sound of the sea. Sailors 1-19 enter one by one and take up position on board ship until they have created a still picture of Odysseus’s ship at sea. Enter Odysseus, when the picture is complete. He walks among the Sailors, speaking quietly. ODYSSEUS Thalassa! Thalassa! Thalassa! Thalassa! Thalassa! One by one, the Sailors respond by bringing the still picture to life and repeating the word thalassa (the Greek word for ‘sea’) until the stage is full of movement and sound. Suddenly, the movement stops and there is a brief silence. SAILORS 1-19 Crescendo The sea! The sea! THE SEA ! Pause SAILORS 1-10 Odysseus sailed across the sea from Troy. SAILORS 11-19 A crafty captain and a skilful crew. SAILORS 7-13 After the victory, sailing for home. SAILORS 1-6 Beneath the waves the sea god saw them go. SAILORS 14-19 He saw them riding on the sea-saw swell. SAILORS 4-9 Poseidon, sea god, saw the ships go by. SAILOR 11-16 Odysseus and his men just saw the sea. 3 REVENGE OF THE SEA GOD Cast make a new picture of sailors looking disconsolately out to sea. Odysseus studies a chart. SAILOR 1 How much longer? SAILOR 2 We’ve been at sea for weeks! SAILOR 3 And no sign of land. -
(Eponymous) Heroes
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot. -
Spring Summer
CHAPTER NEWS ICAROS #7 X PITTSBURGH We are pleased to announce the marriage of Smaro Karakatsanis, daughter of Perry and Titika (Kouknas) Karakatsanis, of Verona, PA, to Dimitri Tzamaras, son of Evangelos and Areti Tzamaras, of Silver Spring, MD, on November 1, 2003. The marriage took place at Holy Dormition Greek Orthodox Church in Oakmont, PA. The bride’s mother is from Xrysostomos, Ikaria, and her father is from Kalamaria, Thessaloniki. The groom’s parents are from Karpenisi. Wedding party included Angela Karakatsanis as Maid-of-Honor; Angie and Tina Kouknas, Stamatina The Mini Convention Dance back row standing, L to R: Mousetis, Ioanna Dr. Themis Speis, Centennial Convention keynote speaker; (Chiotis) Payne, George Halvas, Chapter Icaros President; Nicholas Tsalis, Supreme Vice President; Mike Aivaliotis, Supreme Secretary; Despina (Chiotis) Marino Moraitis, Chapter Christ Aivaliotis President. Front row Insogna, and standing, L to R: Nickolas Manolis, District 3 Governor; Petros Tsantes, PSP; Anthony Kayafas, Foundation Director; Peter Theologos Facaros; Calaboyias, well-known Pan-Icarian artist. Kneeling front, L to R: The Koumbaro was George Horiaties, Supreme President; George Achedafty, PSP. Dimitri’s brother, Pantelis. Smaro is a gradu- ate of Penn State University and American Univer- sity in Washington, DC, and is currently employed by the U.S. Export-Import Bank financing exports. Dimitri is a graduate of the University of Maryland, where he is also currently pursuing an education degree. He is an accountant at a law firm in Rockville, MD. The newlyweds honeymooned in sunny Aruba. They currently reside in Silver Spring, Maryland. Chapter Icaros Wiffle Ball and Soccer Tournament May 15, 2004. -
The Higher Aspects of Greek Religion. Lectures Delivered at Oxford and In
BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Henirg m. Sage 1891 .A^^^ffM3. islm^lix.. 5931 CornelJ University Library BL 25.H621911 The higher aspects of Greek religion.Lec 3 1924 007 845 450 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924007845450 THE HIBBERT LECTURES SECOND SERIES 1911 THE HIBBERT LECTURES SECOND SERIES THE HIGHER ASPECTS OF GREEK RELIGION LECTURES DELIVERED AT OXFORD AND IN LONDON IN APRIL AND MAY igii BY L. R. FARNELL, D.Litt. WILDE LECTURER IN THE UNIVERSITY OF OXFORD LONDON WILLIAMS AND NORGATE GARDEN, W.C. 14 HENRIETTA STREET, COVENT 1912 CONTENTS Lecture I GENERAL FEATURES AND ORIGINS OF GREEK RELIGION Greek religion mainly a social-political system, 1. In its earliest " period a " theistic creed, that is^ a worship of personal individual deities, ethical personalities rather than mere nature forces, 2. Anthrqgomorphism its predominant bias, 2-3. Yet preserving many primitive features of " animism " or " animatism," 3-5. Its progress gradual without violent break with its distant past, 5-6. The ele- ment of magic fused with the religion but not predominant, 6-7. Hellenism and Hellenic religion a blend of two ethnic strains, one North-Aryan, the other Mediterranean, mainly Minoan-Mycenaean, 7-9. Criteria by which we can distinguish the various influences of these two, 9-1 6. The value of Homeric evidence, 18-20. Sum- mary of results, 21-24. Lecture II THE RELIGIOUS BOND AND MORALITY OF THE FAMILY The earliest type of family in Hellenic society patrilinear, 25-27. -
Parthenon 1 Parthenon
Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury. -
THE ELEUSINIAN MYSTERIES of DEMETER and PERSEPHONE: Fertility, Sexuality, Ancl Rebirth Mara Lynn Keller
THE ELEUSINIAN MYSTERIES OF DEMETER AND PERSEPHONE: Fertility, Sexuality, ancl Rebirth Mara Lynn Keller The story of Demeter and Persephone, mother and daugher naturc goddesses, provides us with insights into the core beliefs by which earl) agrarian peoples of the Mediterranean related to “the creative forces of thc universe”-which some people call God, or Goddess.’ The rites of Demetei and Persephone speak to the experiences of life that remain through all time< the most mysterious-birth, sexuality, death-and also to the greatest niys tery of all, enduring love. In these ceremonies, women and inen expressec joy in the beauty and abundance of nature, especially the bountiful harvest in personal love, sexuality and procreation; and in the rebirth of the humail spirit, even through suffering and death. Cicero wrote of these rites: “Wc have been given a reason not only to live in joy, but also to die with bettei hope. ”2 The Mother Earth religion ceIebrated her children’s birth, enjoyment of life and loving return to her in death. The Earth both nourished the living and welcomed back into her body the dead. As Aeschylus wrote in TIic Libation Bearers: Yea, summon Earth, who brings all things to life and rears, and takes again into her womb.3 I wish to express my gratitude for the love and wisdom of my mother, hlary 1’. Keller, and of Dr. Muriel Chapman. They have been invaluable soiirces of insight and under- standing for me in these studies. So also have been the scholarship, vision atdot- friendship of Carol €! Christ, Charlene Spretnak, Deem Metzger, Carol Lee Saiichez, Ruby Rohrlich, Starhawk, Jane Ellen Harrison, Kiane Eisler, Alexis Masters, Richard Trapp, John Glanville, Judith Plaskow, Jim Syfers, Jim Moses, Bonnie blacCregor and Lil Moed. -
Devising Descent Mime, Katabasis and Ritual in Theocritus' Idyll 15 Hans Jorgen Hansen a Thesis Submitted to the Faculty of Th
Devising Descent Mime, Katabasis and Ritual in Theocritus’ Idyll 15 Hans Jorgen Hansen A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2010 Approved by: Dr. William H. Race Dr. Owen Goslin Dr. Werner Riess Abstract Hans Jorgen Hansen: Devising Descent: Mime, Katabasis and Ritual in Theocritus’ Idyll 15 (Under the direction of Dr. William H. Race) In this thesis I investigate the genres and structure of Theocritus’ fifteenth Idyll, as well as its katabatic and ritual themes. Though often considered an urban mime, only the first 43 lines exhibit the formal qualities of mime found in Herodas’ Mimiambi, the only other surviving corpus of Hellenistic mime. The counterpoint to the mimic first section is the Adonia that makes up the last section of the poem and amounts to an urban recasting of pastoral poetry. A polyphonic, katabatic journey bridges the mimic and pastoral sections and is composed of four encounters that correspond to ordeals found in ritual katabases. The structure of the poem is then tripartite, beginning in the profane world of the household mime, progressing through the liminal space of the streets and ending in the sacred world of the Adonia. This progression mirrors Theocritus’ evolution from Syracusan mimic poet to Alexandrian pastoral poet. ii Table of Contents Introduction 1 Chapter 1: Mime and Structure in the Adoniazusae 6 1.1: Introduction 6 1.2.1: The Formal Features of Herodas’ Poetry 12 1.2.2: Homophony and Herodas’ Fourth Mimiamb 21 1.3.1: Theocritus’ Household-Mime 26 1.3.2: The Streets of Alexandria and Theocritus’ Polyphonic Mime 32 1.4: Conclusion 41 Chapter 2: Katabasis and Ritual in the Adoniazusae 44 2.1: Introduction 44 2.2: The Katabatic Structure, Characters and Imagery of Theoc. -
Seeing Gods: Epiphany and Narrative in the Greek Novels
Seeing Gods: Epiphany and Narrative in the Greek Novels ROBERT L. CIOFFI Bard College The Greek world was full of the divine, and the imagined world of the ancient novels was no different.1 Divinity and its worship pervade the novels’ narra- tives, helping to unite, drive apart, and then reunite their protagonists. In this paper, I explore the relationship between ancient religion and literature, the transformation of literary tradition, and the place of the marvelous in the nov- els’ narratives by examining the role that one aspect of the human experience of the gods, epiphany, plays in the genre. Although the novelists describe very few scenes of actual epiphany,2 they make abundant use of the epiphanic met- aphor in what I will call “epiphanic situations,” when an internal audience reacts to the hero or, most often, the heroine of the novel as if he or she were a god or goddess. These epiphanic situations transform the common metaphor of divine beauty into a reality, at least as experienced by the internal audience,3 and they offer the novelists an alternative to ekphrasis for expressing ineffable beauty. ————— 1 Zeitlin 2008, 91 writes: “The novels are full of: temples, shrines, altars, priests, rituals and offerings, dreams (or oracles), prophecies, divine epiphanies, aretalogies, mystic language and other metaphors of the sacred (not forgetting, in addition, exotic barbarian rites).” 2 In the novels, mortals are most frequently visited by divinities during dreams: e.g., Chari- ton 2,3; X. Eph. 1,12; Longus 1,7-8, 2,23, 2,26-27, 3,27, 4,34; Ach.