Lila and Kween and the Turbulent Priest Written by X-22, Based on Characters by Roundersofter
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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. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
Words: Dragon, Andromeda, Medusa, Perseus, Myth
Athens Journal of Mediterranean Studies - Volume 7, Issue 3, July 2021 – Pages 201-232 Medusa Must Die! The Virgin and the Defiled in Greco-Roman Medusa and Andromeda Myths By Sharon Khalifa-Gueta* Andromeda and Medusa are two types within the same motif—that of the motif of ―the woman and the dragon‖. This article positions a mythical hero between these two women and contrasts their relationship with dragons, along with a further fresh investigation of women and dragons in ritual and cultural context. The complexity of this motif, in contrast to the dragon-slayer topos, is explored, shedding light on social views, desires, and fears toward women in the ancient Greco-Roman cultural context. These female figures are contrasted within one mythical sequence, elucidating their educational role for men. This investigation also confronts the ―good‖ versus the ―defiled‖ woman and clarifies why a ―holy-defiled‖ woman, such as Medusa, cannot exist in patriarchal cultures, and therefore must be isolated, killed, or otherwise controlled by patriarchal society. Keywords: dragon, Andromeda, Medusa, Perseus, myth Introduction The myth sequence of Perseus is well studied, mostly as part of the dragon- slayer topos. This article aims to shift the attention from Perseus to his two encounters with females, Andromeda and Medusa, and suggest that by placing them together in the same myth sequence a motif with binary visualisations emerges. While Medusa‘s image has already been broadly investigated, Andromeda has mostly been neglected, with Perseus‘s figure gaining the most attention in this myth. Focusing on the artistic manifestation of the syntagm ―the woman and the dragon‖ reveals a Greco-Roman cultural binary of the ―good‖ versus the ―bad‖ woman. -
About Greek Goddesses As Mothers Or Would-Be Mothers
About Greek Goddesses as Mothers or Would-Be Mothers The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2020, April 10. About Greek Goddesses as Mothers or Would-Be Mothers. Classical Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/about-greek-goddesses- as-mothers-or-would-be-mothers/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42660030 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. -
Eidinow, E. (2019)
Eidinow, E. (2019). "The Horror of the Terrifying and the Hilarity of the Grotesque": Daimonic Spaces—and Emotions—in Ancient Greek Literature. Arethusa, 51(3), 209-235. http://muse.jhu.edu/article/719085 Peer reviewed version Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Johns Hopkins University at http://muse.jhu.edu/article/719085 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ “THE HORROR OF THE TERRIFYING AND THE HILARITY OF THE GROTESQUE”: DAIMONIC SPACES—AND EMOTIONS—IN ANCIENT GREEK LITERATURE ESTHER EIDINOW 1. INTRODUCTION: QUESTIONS OF CATEGORIES* The title of this paper quotes a phrase from Jean-Pierre Vernant’s discussion of the Gorgon that focuses on the ways in which representations of the gorgoneion (a Gorgon mask) were depicted as “disrupting the features that make up a human face,” producing “an effect of disconcerting strangeness that expresses a form of the monstrous that oscillates between two extremes: the horror of the terrifying and the hilarity of the grotesque” (1991.113).1 This portrayal ushers the reader into a murky world of concepts of alterity: as Vernant puts it, the Gorgon’s mask “expresses and maintains the radical otherness, the alterity of the world of the dead, which no living person may approach” (1991.121), and his analysis reveals this otherness as comprising a network of ideas that associate not only the realm of the dead, but also night, some particular qualities of the female, and monstrosity. -
Epigraphic Bulletin for Greek Religion
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 8 | 1995 Varia Epigraphic Bulletin for Greek Religion Angelos Chaniotis and Eftychia Stavrianopoulou Electronic version URL: http://journals.openedition.org/kernos/605 DOI: 10.4000/kernos.605 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1995 Number of pages: 205-266 ISSN: 0776-3824 Electronic reference Angelos Chaniotis and Eftychia Stavrianopoulou, « Epigraphic Bulletin for Greek Religion », Kernos [Online], 8 | 1995, Online since 11 April 2011, connection on 16 September 2020. URL : http:// journals.openedition.org/kernos/605 Kernos Kernos, 8 (1995), p, 205-266. EpigrapWc Bulletin for Greek Religion 1991 (EBGR) This fifth issue of BEGR presents the publications of 1991 along with several addenda to BEGR 1987-1990. The division of the work between New York and Heidelberg, for the first time this year, caused certain logistical prablems, which can be seen in several gaps; some publications of 1991 could not be considered for this issue and will be included in the next BEGR, together with the publications of 1992. We are optimistic that in the future we will be able to accelerate the presentation of epigraphic publications. The principles explained in Kernos, 4 (991), p. 287-288 and Kernos, 7 (994), p. 287 apply also to this issue, The abbreviations used are those of L'Année Philologique and the Supplementum Bpigraphicum Graecum. We remind our readers that the bulletin is not a general bibliography on Greek religion; works devoted exclusively to religious matters (marked here with an asterisk) are presented very briefly, even if they make extensive use of inscriptions, In exceptional cases (see n° 87) we include in our bulletin studies on the Linear B tablets. -
The Evolution of the Western Dragon
Athens Journal of Mediterranean Studies- Volume 4, Issue 4 – Pages 265-290 The Evolution of the Western Dragon By Sharon Khalifa-Gueta The figure of the dragon seems to be magnetic for human imagination and flourishes even these days. In the present article I explore the biological and psychological reasons why dragons were initially created in the human mind. Although I focus on the Mediterranean dragon figure as it evolved over time, the theories I suggest here for the reasons for the creation of dragons hold globally. I discuss the origins of the dragon figure in snakes, explain the reasons for the various kinds of imagined dragons, and categorize the different dragon prototypes that developed in the Mediterranean region. This article provides basic information that can be the foundation for further study of the subject. Keywords: Art, Dragon, Life metaphor, Snake, Underworld Introduction It seems to me that choosing to explore the meaning and function of the dragon figure is to come face to face with one of mankind‟s most fascinating phenomenon: The dragon is one of the most intriguing products of the human imagination, and we can find images of dragons in all cultures from as early as the prehistoric era. The dragon‟s popularity soared in all of the major ancient cultures – Mesopotamian, Indo-European, Chinese, and Egyptian, as well as pre-Colombian cultures. In this article, I focus on dragon images in ancient and medieval Mediterranean cultures that constituted an inspiration for the figure of the dragon in Early Modern Europe. The long-term popularity of the dragon figure in Mediterranean cultures is proof that it serves a psychological need. -
Dinosaurs and Pterosaurs in Greek and Roman Art and Literature? an Investigation of Young-Earth Creationist Claims
Palaeontologia Electronica palaeo-electronica.org Dinosaurs and pterosaurs in Greek and Roman art and literature? An investigation of young-earth creationist claims Phil Senter ABSTRACT Many young-Earth creationist (YEC) authors claim that ancient Greek and Roman writings describe dinosaurs and pterosaurs, and that Greco-Roman art illustrates Mesozoic reptiles. Such claims are used as “evidence” against evolutionary theory in an attempt to cast doubt on the separation of humans and such animals by millions of years. However, examination of the Greco-Roman materials in question reveals that none of them actually depict Mesozoic reptiles. In descriptions of “dragons” (Greek drakōn; Latin draco) in Greco-Roman literature—which YEC authors claim are dino- saurs—coils and the epithets ophis, serpens, and anguis reveal that the ancient authors are describing snakes, often large constrictors. This is the case for the draco described by Pliny. Phrygian dragons described by Aelian, the Vatican Hill child-eater mentioned by Pliny, the Bagradas River dragon, the legendary dragons that Alexander the Great supposedly encountered, and dragons in Greek mythology. An alleged thero- pod dinosaur in the Nile Mosaic of Palestrina is a mammal, possibly an otter. An alleged dinosaur in a Pompeii fresco is a crocodile. Herodotus’ description of winged snakes is anatomically incompatible with pterosaurs and possibly refers to cobras. Alleged pterosaurs on an Alexandrian coin are winged snakes. An alleged Etruscan pterosaur head sculpture depicts a mammal. Two alleged Tanystropheus in a Roman mosaic from Lydney Park, England are mythical sea monsters. These YEC claims now join the ranks of discredited “evidence” against evolutionary theory. -
Female Monsters and Monstrous Females Readings of Monstrosity in Statius’ Thebaid
Female Monsters and Monstrous Females Readings of Monstrosity in Statius’ Thebaid by Isabelle Jane Duroe (B.A. Hons.) Submitted in fulfilment of the requirements for the degree of Master of Arts University of Tasmania (December, 2018) I declare that this thesis contains no material which has been accepted for the award of another degree or diploma in any tertiary institution, nor any material published or written by others, except when due reference is made in the text of the thesis. Isabelle Jane Duroe 20.12.2018 This thesis may be made available for loan and limited copying in accordance with the Copyright Act of 1968. Isabelle Jane Duroe 20.12.2018 Abstract In the early stages of the Thebaid, Statius provides graphic descriptions of three female monsters: in book 1 the Fury Tisiphone and the hybrid snake-woman Apollo sends against Argos; and in book 2 the Theban Sphinx. In their wake, the poem contains several further representations threatening femininity which evoke these monsters in language, imagery, and theme. Not only representing the troubled and troubling women of the Theban household, Statius infuses his epic with images of disturbing femininity seemingly disconnected from the Theban mythological cycle, namely Thessalian witches (implicitly, Lucan’s witch, Erichtho) in book 3, and the Lemnian murderesses in book 5. While recent Statian scholarship has examined the representation of femininity in the Thebaid with a view to unpacking the ambiguous, often threatening portrayals of female grief in the poem, studies have often separated the theme of femininity from that of monstrosity. Utilising aspects of the developing field of monster studies (recently brought into contact with Classics by Lowe (2015), Felton (2012), and Murgatroyd (2007)), this thesis analyses the textual and cultural significance of Statius’ ‘monstrous-feminine’. -
Katabasis and the Serpent in Aristophanes' Frogs, As Dionysus Is
ORE Open Research Exeter TITLE Katabasis and the serpent AUTHORS Ogden, D JOURNAL Les Etudes Classiques DEPOSITED IN ORE 03 August 2016 This version available at http://hdl.handle.net/10871/22845 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Page 1 of 18 Katabasis and the Serpent1 In Aristophanes’ Frogs, as Dionysus is preparing to make his katabasis, Heracles explains to him what he can expect to encounter as he descends to and then penetrates the underworld. After Charon and his boat, he tells him: μετὰ τοῦτ’ ὄφεις καὶ θηρί’ ὄψει μυρία / δεινότατα. After this you will see snakes and most terrible beasts in myriads. Aristophanes Frogs 142-3 The ‘myriads’, whilst grammatically associated in the first instance with the ‘most terrible beasts,’ is presumably to be read with the ‘snakes’ too. A hundred of these snakes at any rate can be accounted for in the form of the ‘hundred-headed’ (ἑκατογκέφαλος) Echidna, the ‘Viper’, which, the underworld warden and keeper of Cerberus, Aeacus, subsequently tells Heracles, will tear at his innards, in punishment for his former theft of the dog.2 In Apuleius’ tale of Cupid and Psyche, Psyche is directed by Venus to the banks of the Styx: Dextra laevaque cautibus cavatis proserpunt ecce longa colla porrecti saevi dracones inconivae vigiliae luminibus addictis et in perpetuam lucem pupulis excubantibus. -
Monsters of the Mediterranean and Legendary Quest Are Trademarks of Loreweaver, Inc
Official Game Rules for Legendary QuestÔ By John Kirk Edited by Genevieve Burt legendaryquest.com The Monsters of the Mediterranean and Legendary Quest are trademarks of LoreWeaver, Inc. October 28, 2003 The Monsters of the Mediterranean ii he Monsters of the Meditteraneanä The Grimoire of Game Rulesä and all associated books (The Tome of Terrors, The Lexicon of Lore, The Manual of Mythology, Celtic Creatures and Nordic Nightmares, The Monsters Tof the Mediterranean, and The Handbook of Hazards and House Rules) are Copyright ã1996-2002 by LoreWeaver. All rights reserved. You may make unlimited electronic copies of this book and may print out individual copies for your own personal use; provided the work is copied in its entirety and you make no alterations to its content. You may make limited numbers of hard copies at a printing service (no more than 5 copies at a time), provided said printing service does not otherwise act as a publishing house and provided said printing service charges fees for the copies that are commensurate with its general copying services. You may be reimbursed by the recipients of those copies for the copy fees, but may not otherwise charge those recipients any amount over this cost. In other words, if you try to sell this book for profit, we’ll sue the pants off of you. On the other hand, if you are a publishing house that wants to sell this book for profit, get a hold of us and we’ll talk turkey. (Note: If you’re one of those “publishing houses” that charges its writers for the privilege of having you publish their books, don’t even bother asking. -
APHRODITE Was the Great Olympian Goddess of Beauty, Love, Pleasure and and Procreation. She Was Depicted As a Beautiful Woman Us
APHRODITE was the great Olympian goddess of beauty, love, pleasure and and procreation. She was depicted as a beautiful woman usually accompanied by the winged godling Eros (Love). Her attributes included a dove, apple, scallop shell and mirror. In classical sculpture and fresco she was often depicted nude. Some of the more famous myths featuring the goddess include:-- Her birth from the sea foam; Her adulterous affair with the god Ares; Her love for Adonis, a handsome Cypriot youth who was tragically killed by a boar; Her love for Ankhises, a shepherd-prince; The judgement of Paris in which the goddess was awarded the prize of the golden apple in return for promising Paris Helene in marriage; The Trojan War in which she supported her favourites Paris and Aeneas and was wounded in the fighting; The race of Hippomenes for Atalanta, which was won with the help of the goddess and her golden apples; The death of Hippolytos, who was destroyed by the goddess for scorning her worship; The statue of Pygmalion which was brought to life by Aphrodite in answer to his prayers; The persecution of Psykhe, the maiden loved by the goddess' son Eros. APOLLON (or Apollo) was the great Olympian god of prophecy and oracles, healing, plague and disease, music, song and poetry, archery, and the protection of the young. He was depicted as a handsome, beardless youth with long hair and various attributes including:--a wreath and branch of laurel; bow and quiver; raven; and lyre. The most famous myths of Apollon include:-- His birth on the island of Delos; The