Who Let the Gods Out? Chapter 17
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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. -
Who-Let-The-Gods-Out-Chapter-By-Chapter-Resources.Pdf
WHO LET THE GODS OUT? Maz Evans CHAPTER-BY-CHAPTER RESOURCES CREATED BY: Ashley Booth @MrBoothY6 www.maz.world @maryaliceevans chickenhousebooks.com Chapter Comprehension Writing Cross Curricular Questions Opportunities Opportunities 1 • What does the author mean when referring to the body odour Write a conversation ART • Draw what you think as ‘weapons grade’? between a naughty pupil Elliot, Call Me Graham and • What does ‘jubilantly’ mean? Can you do an impression of and a headteacher in the Mr Boil look like. ‘lumbering jubilantly’? style of Elliot and Mr Boil. • Is Elliot often in trouble? How do you know? Use shifts in formality to DRAMA • Use drama to act • Why do you think Mr Boil has no respect for Call Me Graham? make it effective. out the scene in Call Me • Is Elliot a good student? How do you know? Graham’s office. • Where does Elliot go to school? • How old is Elliot? 2 • What does the text mean when it says the farm had been the Write the next part of the ART • Create your own family home for ‘generations’? story, predicting where Mum horrible neighbour in the • What words show that Elliot doesn’t want to speak to Patricia has gone. style of Patricia Porshley- Porshley-Plum? Plum. • Why might Elliot like the walk home so much? • Why does Elliot lie about his mum being ill? • Why does Elliot get so panicked? • Predict where Mum has gone. • What impression do you get of Patricia in this chapter? www.maz.world @maryaliceevans CREATED BY: Ashley Booth @MrBoothY6 chickenhousebooks.com Chapter Comprehension Writing Cross Curricular Questions Opportunities Opportunities 3 • Explain what a zodiac is. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
The Eros-Thanatos Conflict in DH Lawrence's Women in Love
J. Appl. Environ. Biol. Sci. , 5(8S )555 -560 , 2015 ISSN: 2090-4274 Journal of Applied Environmental © 2015, TextRoad Publication and Biological Sciences www.textroad.com The Eros-Thanatos Conflict in D.H. Lawrence’s Women in Love : A Psychoanalytic Study Rahim Noori Khaneghah Ph.D.in English Literature, Department of English, University of Maragheh, Iran. Received: March 8, 2015 Accepted: May 10, 2015 ABSTRACT The present essay is interdisciplinary in nature and touches two-subject areas: literature and psychoanalysis. In Women in Love , Ursula-Birkin relationship is regarded as representation of life drive (Eros) and Gudrun-Gerald relationship as a finest example of the victory of the death drive (Thanatos) over the life drive (Eros). The death and live drives are present in every living creature, but these two opposite drivesshould be in normal mixture. Some traumatic situations and repressed wishes cause the imbalance of this regular mixture of life and death drives and make one drive more possessive than the other drive. Eros-Thanatos struggle is an inner one and the victory of one drive over the other may cause the death of the individual. The essay makes an attempt to bring to light the struggles of the four major characters of the novel (Ursula, Birkin, Gerald and Gudrun) between Eros and Thanatos with the help of Freudian and Lacanian psychoanalytic perspectives. KEYWORDS: Struggle, Death drive, Life drive, Possessiveness, Regular mixture 1. INTRODUCTION Women in Love is regarded as the finest novel of D. H. Lawrence which was published in the USA in 1920. This novel is in fact the story of two Brangwen sisters, Ursula and Gudrun, and their love experience with Birkin and Gerald respectively. -
Disentangling Hypnos from His Poppies
EDITORIAL VIEWS Anesthesiology 2010; 113:271–2 Copyright © 2010, the American Society of Anesthesiologists, Inc. Lippincott Williams & Wilkins Disentangling Hypnos from His Poppies SUALLY a combination of opioid and hypnotic drugs theory, the CI can be interpreted as an indicator of the in- Uare used to achieve a state of balanced general anesthe- tensity of sub-cortical input. They found that increasing con- sia in the surgical patient. As evidenced by the great variation centrations of remifentanil caused a profound decrease in Downloaded from http://pubs.asahq.org/anesthesiology/article-pdf/113/2/271/251266/0000542-201008000-00006.pdf by guest on 02 October 2021 in practice, a fundamental but unanswered question is “How this parameter that was most marked in the presence of high much opioid should be given intraoperatively?” In Greek propofol concentrations. The CI index correlates well with mythology, Hypnos was the god of sleep. He lived on the the absolute amplitude of the electroencephalograph. The island of Lemnos in a dark cave surrounded by poppies. One propofol-induced increase in electroencephalographic am- of his sons was Morpheus, who gave form to the dreams of plitude is, therefore, suppressed by the concomitant adminis- kings and heroes. The article by Liley et al.1 in this issue of tration of remifentanil. In this respect, the CI index is markedly ANESTHESIOLOGY proposes an electroencephalographic index different from almost all the other electroencephalographic of opioid effect. Perhaps, this study has given us a tool to monitors in common use (such as the bispectral index and var- dissect out the influence of the poppies on Hypnos? ious entropies), the algorithms of which are designed to ignore Previous work on the electroencephalographic effects of the information contained in absolute amplitude of the electro- opioids is somewhat contradictory. -
The Legend About Phaethon
The legend about Phaethon As the myth implies, there lived a young man named Phaethon, the son of the god Helios and the nymph Clymene. Every day the Sun rises above the Earth---this is the great god Helios drives his golden Chariot of the Sun across the sky. Once Phaethon wanted to proof his high blood and went to the palace of the god Helios. Helios saw Phaethon and asked him: – What brought you to my palace, my son? – Oh, the great and radiant Helios! - Please, establish your paternity. – It is true. You are my son indeed. Ask me everything you want to dispel your doubts. And Phaethon asked his father to allow him to drive the Chariot of the Sun instead of him. Helios was fearful at his son's request: - Bethink yourself, madman! It is above your strength, a mortal, to manage my Chariot of the Sun. Even the mighty Zeus cannot stay on the Chariot of the Sun and who is greater than he? But Phaethon insisted that Helios kept his promise and Helios had to agree. He put holy ointments on his son's face, so that hot rays would not burn it and led him to fiery horses who hoofed already. - Listen to my advice. Do not hurry the horses, they will run themselves, they are difficult to control. Keep the reins firmer, do not release them and try not to deviate from the route. Your way lies just between the Snake and the Altar. Do not go too low to the Earth, so as not to burn it, and do not go too high, or else you'll burn the sky. -
Greek Mythology #23: DIONYSUS by Joy Journeay
Western Regional Button Association is pleased to share our educational articles with the button collecting community. This article appeared in the August 2017 WRBA Territorial News. Enjoy! WRBA gladly offers our articles for reprint, as long as credit is given to WRBA as the source, and the author. Please join WRBA! Go to www.WRBA.us Greek Mythology #23: DIONYSUS by Joy Journeay God of: Grape Harvest, Winemaking, Wine, Ritual Madness, Religious Ecstasy, Fertility and Theatre Home: MOUNT OLYMPUS Symbols: Thyrus, grapevine, leopard skin Parents: Zeus and Semele Consorts: Adriane Siblings: Ares, Athena, Apollo, Artemis, Aphrodite, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces Roman Counterpart: Bacchus, Liber Dionysus’ mother was mortal Semele, daughter of a king of Thebes, and his father was Zeus, king of the gods. Dionysus was the only Olympian god to have a mortal parent. He was the god of fertility, wine and the arts. His nature reflected the duality of wine: he gave joy and divine ecstasy, or brutal and blinding rage. He and his followers could not be contained by bonds. One would imagine that being the god of “good times” could be a pretty easy and happy existence. Unfortunately, this just doesn’t happen in the world of Greek mythology. Dionysus is called “twice born.” His mother, Semele, was seduced by a Greek god, but Semele did not know which god was her lover. Fully aware of her husband’s infidelity, the jealous Hera went to Semele in disguise and convinced her to see her god lover in his true form. -
AND DID THOSE HOOVES Pan and the Edwardians
1 AND DID THOSE HOOVES Pan and the Edwardians By Eleanor Toland A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2014 2 “….a goat’s call trembled from nowhere to nowhere…” James Stephens, The Crock of Gold, 1912 3 Contents Abstract………………………………………………………………………………………...4 Acknowledgements……………………………………………………………………………..5 Introduction: Pan and the Edwardians………………………………………………………….6 Chapter One: Pan as a Christ Figure, Christ as a Pan Figure…………………………………...17 Chapter Two: Uneasy Dreams…………………………………………..…………………......28 Chapter Three: Savage Wildness to Garden God………….…………………………………...38 Chapter Four: Culminations….................................................................................................................48 Chapter Five: The Prayer of the Flowers………………...…………………………………… 59 Conclusion…………………………………………………………………………………….70 Works Cited…………………………………………………………………………………...73 4 Acknowledgements My thanks to Lilja, Lujan, Saskia, Thomas, Emily, Eve, Mehdy, Eden, Margie, Katie, Anna P, the other Anna P, Hannah, Sarah, Caoilinn, Ronan, Kay, Angelina, Iain et Alana and anyone else from the eighth and ninth floor of the von Zedlitz building who has supplied a friendly face or a kind word. Your friendship and encouragement has been a fairy light leading me out of a perilous swamp. Thank you to my supervisors, Charles and Geoff, without whose infinite patience and mentorship this thesis would never have been finished, and whose supervision went far beyond the call of duty. Finally, thank you to my family for their constant support and encouragement. 5 Abstract A surprisingly high number of the novels, short stories and plays produced in Britain during the Edwardian era (defined in the terms of this thesis as the period of time between 1900 and the beginning of World War One) use the Grecian deity Pan, god of shepherds, as a literary motif. -
Myth and Origins: Men Want to Know
Journal of Literature and Art Studies, October 2015, Vol. 5, No. 10, 930-945 doi: 10.17265/2159-5836/2015.10.013 D DAVID PUBLISHING Myth and Origins: Men Want to Know José Manuel Losada Université Complutense, Madrid, Spain Starting with a personal definition of “myth”, this paper seeks to substantiate the claim that every myth is essentially etiological, in the sense that myths somehow express a cosmogony or an eschatology, whether particular or universal. In order to do that, this study reassesses Classical and Judeo-Christian mythologies to revisit and contrast the narratives of origin—of the cosmos, of the gods and of men—found in ancient polytheism and in Judeo-Christian monotheism. Taking into consideration how these general and particular cosmogonies convey a specific understanding of the passage of time, this article does not merely recount the cosmogonies, theogonies, and anthropogonies found in the Bible and in the works of authors from Classical Antiquity, but it also incorporates a critical commentary on pieces of art and literature that have reinterpreted such mythical tales in more recent times. The result of the research is the disclosure of a sort of universal etiology that may be found in mythology which, as argued, explains the origins of the world, of the gods, and of men so as to satisfy humankind’s ambition to unveil the mysteries of the cosmos. Myth thus functions in these cases as a vehicle that makes it possible for man to return the fullness of a primordial age, abandoning the fleeting time that entraps him and entering a time still absolute. -
Fate and Death Through a Daimonic Lens
FATE AND DEATH THROUGH A DAIMONIC LENS FATE AND DEATH THROUGH A DAIMONIC LENS By JASON SOLOMON BINDER, B.A.Sc., B.A. Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Jason Solomon Binder, September 2014 MA Thesis – J. Binder; McMaster University – Classics. McMaster University MASTER OF ARTS (2014) Hamilton, Ontario (Classics) TITLE: Fate and Death through a Daimonic Lens AUTHOR: Jason Solomon Binder, B.A.Sc., B.A. (McMaster University) SUPERVISOR: Dr. Sean Corner NUMBER OF PAGES: vi, 101 ii MA Thesis – J. Binder; McMaster University – Classics. Abstract This thesis is concerned with the ancient Greek conceptualization of fate and death, as explored through the figure of the daimon in literature from Homer and Hesiod to Plato and Euripides. Filling a gap in scholarship, I elucidate the spectrum of meaning inherent in the word daimon, and how it shifts over time. From the Archaic to the Classical period the word daimon is found as a synonym for theos, “god”, as a vocative address, or in reference to “fate” and the generalized “will of heaven.” At the same time, a particular group of divine personifications, including Thanatos, Moira, Ker, and Erinys are counted as daimones. We also find the term used to designate unnamed but individuated lesser divinities, guardian spirits, and demonic possessors, and even as the divine aspect of the self. In the early Archaic poets these latter categories are only nascent. The individuated daimon becomes the focus of the lyric poets and pre-Socratic philosophers; in the later pre-Socratics the daimon begins to be internalized, moving from possessive spirit to psychic force. -
Greek Creation Myth in the Beginning There Was Only the Infinite Space Known As Chaos. Inside This Void Was a Single Creature, N
Greek Creation Myth In the beginning there was only the infinite space known as Chaos. Inside this void was a single creature, Nyx, the bird with black wings. She laid a golden egg and for ages sat upon it. When it finally hatched, out came Eros, the god of love. One half of the shell rose up to become the sky, and the other half became the Earth. He named the Earth Gaia and the sky Uranus. Eros then made them fall in love. More… They had many children; among them were giants and Titans, one of which was name Atlas, who, due to his bad behavior was punished to forever hold the Earth and the sky apart. Two other children were named Cronus and Rhea, who married and ruled the world. They also had children. One was name Demeter, who was the Goddess of all things that grow. Hera was the Goddess of marriage and the birth of children. Hestia, as the goddess of the home and sacred hearth. Poseidon, god of the sea, Hades, god of the dead, and Zeus who became the God of the world and ruled the air and the sky. Before they were born, the universe prophesied that one of these children would overtake Cronus and rule the world. To avoid this fate, Cronus swallowed up each of his children as soon as they were born. All of them, except Zeus, who had been hidden by his mother Rhea. When he was fully grown, Zeus conquered Cronus in a great war and rescued his siblings. -
H2O and the Waters of Forgetfulness PDF Book
H2O AND THE WATERS OF FORGETFULNESS PDF, EPUB, EBOOK Ivan Illich | 112 pages | 01 Mar 2001 | Marion Boyars Publishers Ltd | 9780714528540 | English | London, United Kingdom H2O and the Waters of Forgetfulness PDF Book Though he drank from the river and was reincarnated as Euphorbus, Hermotius, Pyrrhus and then Pythagoras, he was still able to remember his previous lives and the knowledge he had gained in those incarnations. Goodreads helps you keep track of books you want to read. The first four lines of the poem are:. Not to be confused with Leath or Water of Leith. This critique applies equally to both the so-called developed and the developing nations but in different ways. Sign in. During the s he founded centers for cross-cultural communication, first in Puerto Rico and then in Cuernavaca, Mexico. This legend persisted until BC. Geller - November 7, 0. Achilles island Delos. Follow us. He studied theology, philosophy, history, and natural science. This act proved that the Lima was not as dangerous as the local myths described. Virgil's Aeneid. The French poet Charles Baudelaire referred to the river in his poem "Spleen". Dante, held in the arms of Matilda, is immersed in the Lethe so that he may wipe out all memory of sin Purg. Readers also enjoyed. Lethe was also the name of the personification of forgetfulness and oblivion, with whom the river was often associated. I love the title and the idea and the writer, but was a little disappointed with the actual book. The souls that throng the flood Are those to whom, by fate, are other bodies ow'd: In Lethe's lake they long oblivion taste, Of future life secure, forgetful of the past.