Final Revisons
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Subjects of the Visual Arts: Hermaphrodites a Roman Copy of a Greek Sculpture of by Martin D
Subjects of the Visual Arts: Hermaphrodites A Roman copy of a Greek sculpture of by Martin D. Snyder Hermaphroditus (ca 200 C. E.). Encyclopedia Copyright © 2015, glbtq, Inc. This photograph appears under the the CeCILL Entry Copyright © 2002, glbtq, Inc. license and is attributed Reprinted from http://www.glbtq.com to Rama. In classical mythology, the nymph Salmacis loved the handsome but unresponsive Hermaphroditus, son of Hermes and Aphrodite. When he bathed in her spring, she forcibly embraced him. As Hermaphroditus struggled to free himself, Salmacis prayed that they never part. The gods granted her wish, and the two became a single being with both male and female sexual characteristics. (Ovid, Metamorphoses, 4.285 ff.) In ancient art Hermaphroditus, either specifically or as a generalized type, is a common subject. He is either nude or lifts his garment to expose his genitals; alternatively, a satyr, who mistakes him for a woman, assaults him. The most famous portrayal represents Hermaphroditus asleep, lying on his stomach, head turned to the side, and torso twisted just enough to reveal his breast and genitals. (National Museum of the Terme, Rome, and the Louvre, Paris.) Hermaphrodites disappear from post-classical art history until the Renaissance, when writers of alchemical treatises rediscovered them as non-erotic symbols for the union of opposites (a potent image for later Jungian psychology), and emblem books portrayed them as symbols of marriage. (For a modern interpretation, see Marc Chagall's Homage to Appollinaire, 1911.) The tale of Hermaphroditus and Salmacis was portrayed occasionally in Renaissance and Neoclassical art. Among the depictions are the following: Jan Gossaert [Jan de Mabuse], The Metamorphosis of Hermaphroditus and the Nymph Salmacis (1505), Bartholomaeus Spranger, Salmacis and Hermaphroditus (1581), Francesco Albani, Salmacis Falling in Love with Hermaphroditus (ca 1660) and Salmacis Kissing Hermaphroditus in the Water (1660), and François-Joseph Navez, The Nymph Salmacis and Hermaphroditus (1829). -
CSU IP Italy Virtual International Program FALL 2020
CSU IP Italy Virtual International Program FALL 2020 HCL 302 CLASSICAL MYTHOLOGY AND RELIGION Instructor: Prof. Beatrice Fabbri Email: [email protected] Class Schedule: Tuesday 10:30am - 11:30 am (Pacific Standard Time) Thursday: by appointment. Office Hours: Friday, 9:30am-10:30 am (Pacific Standard time) and by appointment Class Location: Online via Zoom “The love of wisdom begins in wonder” (Socrates) COURSE DESCRIPTION This course is designed to provide the students with a basic introduction to Classical Mythology. In this course, the students will read and study the main issues related to Gods/Goddesses, Heroes, Sagas in the Greek world. References to Etruscan, Roman, other Mediterranean Mythologies will be included as points of references. Enriched with the knowledge gleaned from the readings, students will be able to recognize and appreciate the many allusions and echoes from these myths in modern literature, painting, sculpture, music, dance and cinema. Some basic references to the historical background of Greek will enrich the comprehension and assimilation of the meaning of mythology in Western culture. The etymology itself of mythology recalls the exposition of "legendary lore, a telling of mythic legends; a legend, story, (from mythos "myth" + -logy "study). Actually, the Greek word mythos "speech, thought, story, myth, anything delivered by word of mouth," is of unknown origin. Greek Myths are stories about divine beings, generally arranged in a coherent system; they are revered as true and sacred. The etymology of Religion in the ancient world, refers to the latin root religio to be understood as an individual virtue of worship, never as doctrine, practice, or actual source of knowledge. -
Salmacis, Hermaphrodite, and the Inversion of Gender: Allegorical Interpretations and Pictorial Representations of an Ovidian Myth, Ca
Chapter 3 Salmacis, Hermaphrodite, and the Inversion of Gender: Allegorical Interpretations and Pictorial Representations of an Ovidian Myth, ca. 1300–1770 Karl Enenkel Introduction: The Ovidian Myth and Its Gender Narrative Although from antiquity on, the concept of the nymph has included a great variety of minor deities connected with different local cults and various habi- tats, all nymphs seem to have in common that they were imagined as young, beautiful, gracious girls, and that they were thought to behave in a female and feminine way; if attached to Diana, they were believed to act as virgins. The myth of Salmacis, however, refers to a different kind of nymph: a nymph that excels in the inversion of “normal” gendered behaviour, and that was thought to have caused the disturbing bodily phenomenon of Hermaphroditism.1 The myth as it was depicted and interpreted in the early modern period is entirely based on a literary invention by Ovid, in his Metamorphoses (IV, 288–388).2 Ovid’s highly imaginative story, however, does not give an account 1 On the physical and medical phenomenon of Hermaphroditism in Greco-Roman antiquity and in the Renaissance (which in itself will not be the topic of this contribution) cf., inter alia, Brisson L., Sexual Ambivalence: Androgyny and Hermaphroditism in Graeco-Roman Antiquity, transl. J. Lloyd (Berkeley, California U.P.: 2002; originally French, Paris: 1999); Long K.P., Hermaphrodites in Renaissance Europe (Aldershot: 2006); Duval Jacques, Des Hermaphrodits […] (Rouen, David Geuffroy: 1612). 2 Except for Ovid’s narrative in his Metamorphoses, there are no Greek or Latin sources from antiquity that provide other substantial versions of the myth. -
Water, Women & Bodies in Ovid's Metamorphoses
Water, Women & Bodies in Ovid’s Metamorphoses Τhe ancient philosophers and scientists, in discussing gender differences, link women to wetness (τὸ ὑγρόν); Aristotle (Prob.809b12), Rufus (ap. Orib., Coll. Med. lib. inc. 20.1-2), Aretaeus (SA 2.12.4), Hippocrates (Mul. 1.1 viii 12.6-21) and Galen (Comp. Med. Gen. 2.1 xiii 467-8K) describe women as being naturally softer and wetter than men. While readers of Ovid’s Metamorphoses have noticed a connection between women and places of water (Salzman- Mitchell, 2005; Nugent, 1990; Parry, 1964), I suggest that the ancient scientific and philosophical works about women and their bodies cast light on the transformative property of water in Ovid’s Metamorphoses. I propose to consider how men and women deploy water in the Metamorphoses as a weapon against the opposite sex. In this context, water functions to emasculate men and to render women “more feminine”. In discussing the ancient physiological views, Anne Carson shows that women (like water) are soft and mollifying, porous and penetrable, formless and boundless. The most important and dangerous property that water and women share, however, is their pollutability; once they are polluted, they become polluting (Carson, 1990). Furthermore, women have a proclivity for overstepping and wreaking havoc on boundaries. This proclivity becomes even more dangerous when women are seen as watery and polluting bodies that contaminate and destroy gender boundaries. The Salmacis and Hermaphroditus story in the Metamorphoses (4.285-388) is one of the many episodes that clearly encapsulate the polluting and emasculating nature of a woman and her water (3.138-252; 5.439-461; 5.533-550; 6.317-381). -
And Type the TITLE of YOUR WORK in All Caps
IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND (Under the Direction of Sarah Spence) ABSTRACT Though Ovid presents readers of his Metamorphoses with countless episodes of lovers uniting in a temporary physical closeness, some of his characters find themselves so affected by their love that they become inseparably merged with the ones they desire. These scenarios of “merging bodies” recall Lucretius’ explanations of love in De Rerum Natura (IV.1030-1287) and Aristophanes’ speech on love from Plato’s Symposium (189c2-193d5). In this thesis, I examine specific episodes of merging bodies in the Metamorphoses and explore the verbal and conceptual parallels that intertextually connect these episodes with De Rerum Natura and the Symposium. I focus on Ovid’s stories of Narcissus (III.339-510), Pyramus and Thisbe (IV.55-166), Salmacis and Hermaphroditus (IV.276-388), and Baucis and Philemon (VIII.611-724). I also discuss Ovid’s “merging bodies” in terms of his ideas about poetic immortality. Finally, I consider whether ancient representations of Narcissus in the visual arts are indicative of Ovid’s poetic success in antiquity. INDEX WORDS: Ovid, Metamorphoses, Intertextuality, Lucretius, De Rerum Natura, Plato, Symposium, Narcissus, Pyramus, Thisbe, Salmacis, Hermaphroditus, Baucis, Philemon, Corpora, Immortality, Pompeii IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND B.A., Denison University, 2012 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2014 © 2014 Jaclyn Rene Friend All Rights Reserved IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND Major Professor: Sarah Spence Committee: Mark Abbe Naomi Norman Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2014 ACKNOWLEDGEMENTS I would like to thank Dr. -
Reading the Presence of Both Male and Female Sex Organs
214 HORMONESG. 2006, ANDROUTSOS 5(3):214-217 Historical note Hermaphroditism in Greek and Roman antiquity George Androutsos Institute of History of Medicine, University Claude Bernard, Lyon, France ABSTRACT Since antiquity hermaphrodites have fascinated the mind and excited the imagination. In this paper, such subjects are discussed as legends about the nativity of Hermaphroditus, son of Hermes and Aphrodite, the social status of these bisexual beings, and their fate in Greek- Roman antiquity. Key words: Female pseudohermaphroditism, Hermaphroditism, Male pseudohermaphroditism. INTRODUCTION The cult of the dual being is also to be found amongst the numerous arcane sciences of the mys- Hermaphroditism is a state characterized by tical religions of Hindu peoples, before spreading the presence of both male and female sex organs. through Syria to Cyprus, and then into Greece. Here Recent developments in the understanding of the it degenerated and met the same fate as the hyste- pathogenetic mechanisms involved in defective sex- ro-phallic cults. During such times of decadence, ual differentiation and the social repercussions of hermaphroditism was looked upon as the embodi- the term hermaphrodite have created the need for ment of sexual excess, while for philosophers, it rep- new terminology. Hence, such disorders are today resented the twofold nature of the human being, designated as genetic defects in the differentiation considered as the original being.3 of the genital system.1 HERMAPHRODITES IN ANCIENT GREECE THE FORERUNNERS Greek mythology abounds in examples of such Beings that are simultaneously both male and dual beings. Even the gods themselves were often female have stirred the human imagination since hermaphrodites: Dyalos, the androgyne; Arse- ancient times. -
Theocritean Hermaphroditus: Ovid’S Protean Allusions in Met
Theocritean Hermaphroditus: Ovid’s Protean Allusions in Met. 4.285-388 The presence of thematic and visual resonances in the myths of Hylas and Hermaphroditus suggests that Ovid uses Theocritus’ Id. 13 as an intertext, as many scholars have previously argued (see Charles Segal, Matthew Robinson, and Christiane Sourvinou-Inwood). In my paper, I explore how Ovid transforms Theocritus’ Hylas myth into a new, distinct story: the Hermaphroditus myth (Met. 4). I argue that Ovid’s references to Id. 13 go far deeper than “comparabilities” between the “nympholeptoi,” both of whom are grabbed and fall into water at similar points in the narrative (Sourvinou-Inwood 2005). Rather, Ovid’s recharacterization of the nymph Salmacis from kourotrophic guardian to sexual predator, as well as the assault on Hermaphroditus and consequential loss of “his” voice, distinctly echo the abduction of Hylas by the Kian nymphs. This suggests, then, that Ovid deliberately omits the Hylas tale later in the Metamorphoses in order to fuse it with his own innovative bucolic myth. In order to examine Theocritus’ influence on Ovid, I will conduct a comparative study between selected passages. First, I will draw parallels between the sexualization of Herakles’ caretaker role (Id. 13.5-11) and the maternal overtones in the Kian nymphs’ rape of Hylas (Id. 13.47-54.). I will then compare these details to Ovid’s depiction of Salmacis as a sexually voracious nymph (Met. 4.288-95), a revision of her kourotrophic origin in the Salmacis Inscription (a Hellenistic inscription that identifies Hermaphroditus as a κοῦρος, whose wet nurse was Salmacis [Groves 2016; Sourvinou-Inwood 2005]). -
PP Autumn 2013.Indd
Leadership of Women in Crete and Macedonia as a Model for the Church Aída Besançon Spencer A superficial glance at the New Testament in translation, com- teaching positions versus unofficial teaching, nor does it seem bined with an expectation of a subordinate role for women, re- to be an issue of subject matter. sults in generalizations that Paul commands women not to teach These sorts of modern categories are not apt for describing or have authority (1 Tim 2:11–15), except in the case of older wom- a church that met in a home in which the family and family- en teaching younger women how to be housewives (Titus 2:3–5), of-faith structures and the public and the private spheres and women are not to teach in official, public, formal positions in overlapped in the home-worship events. Paul does not the church, but they can teach in informal, private, one-on-one complain that the false teachers are not appointed teachers; situations in the home.1 rather, he complains that they are offering false teaching. It is However, a deeper search into the New Testament reveals a important, then, not to misread the social context in which dissonance with those interpretations. In 1 Timothy 2:12, Paul early Christian teaching transpired on Crete and elsewhere.5 writes, “I do not permit a woman to teach,” but, in Titus 2:3, Paul expects the “older women” to teach. Paul uses the same root word Many egalitarians have argued that 1 Timothy 2:11–15 needs to for men as for women teaching, didaskō. -
Derrida's Salmacis: the Phallogocentrism in Ovid's
Derrida’s Salmacis: the Phallogocentrism in Ovid’s Metamorphoses 4.285-300 The aetiology of the Salmacis spring, as told by Alcithoë (Ovid Met. 4.285-388), reveals the bizarre agency behind the spring’s enervating properties. The role of the nymph Salmacis as an elegiac amator, rather than the desired object, provides an excellent example of phallogocentric narrative as prescribed by Derrida’s theoretical model. Derrida’s theory on phallogocentrism deals with the linguistic and cultural demarcation between what is masculine (unmarked) and feminine (marked). Derrida allocates logocentrism to “a Platonic schema that assigns the origin and power of speech, precisely of logos, to the paternal position” (Derrida- 1981: p.76). Salmacis, on the other hand, resists this platonic schema when Ovid portrays her as the elegaic amator. To examine the depiction of Salmacis as the elegiac amator, I will compare the Salmacis story with various rape scenes in the Metamorphoses, particularly the vocabulary used by the rapist which Salmacis incorporates in her own speech. Next, I will explore an intertextual relationship between the Salmacis story and Ovid’s Amores 1.3 and 1.5. To understand how Salmacis the amator uses a paternal logos, I will compare her to Ovid’s amator of the Amores. For example, the speech Salmacis delivers to Hermaphroditus echoes some aspects of Amores 1.3; while the description of the desired object, Corinna, in Amores 1.5, resembles Ovid’s characterization of Hermaphroditus in the Metamorphoses. I will also demonstrate how the flattery used by Salmacis recalls Odysseus’ flattery of Nausicaä (Homer Od. -
Dionysiac Art and Pastoral Escapism
Alpenglow: Binghamton University Undergraduate Journal of Research and Creative Activity Volume 6 Number 1 (2020) Article 4 12-1-2020 Dionysiac Art and Pastoral Escapism Casey Roth Binghamton University, [email protected] Follow this and additional works at: https://orb.binghamton.edu/alpenglowjournal Recommended Citation Roth, C. (2020). Dionysiac Art and Pastoral Escapism. Alpenglow: Binghamton University Undergraduate Journal of Research and Creative Activity, 6(1). Retrieved from https://orb.binghamton.edu/ alpenglowjournal/vol6/iss1/4 This Academic Paper is brought to you for free and open access by The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in Alpenglow: Binghamton University Undergraduate Journal of Research and Creative Activity by an authorized editor of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. Casey Roth Dionysiac Art and Pastoral Escapism The pastoral lifestyle was appealing to many people in the Hellenistic and Roman world, as it provided an escape from the stresses of the city.1 This longing to flee the materialistic urban centers was reflected in art and literature, in which Dionysiac figures, such as satyrs or even herdsmen, were represented and described in this idealized environment and provided viewers with a sense of being carefree. Dionysiac elements in art and literature represented this escape from the chaotic city, overcoming boundaries to allow one to welcome a utopia.2 Not only were boundaries overcome in both a worldly and geographic sense, but also identity was challenged. As a result of escaping the city through pastoralism, one could abandon their identity as a civilian for an existence defined by pastoral bliss.3 Pastoralism was associated with an idyllic landscape and can act as an escape from reality. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
God Is Transgender
GOD IS TRANSGENDER In what was an intellectual high for the New York Times, the Gray Lady printed an op- ed article titled “Is God Transgender?” by a New York rabbi named Mark Sameth. Related to a man who “transitioned to a woman” in the 1970s, Sameth contends that “the Hebrew Bible, when read in its original language, offers a highly flexible view of gender.” He puts forward many historical examples of gender fluidity in the Hebrew scriptures, in order to maintain that religion should not be put in service of “social prejudices” against transgendering. His treatment of the Bible amounts to excellent scholarship. Proposing that the God of Israel was worshipped originally as “a dual-gendered deity,” the rabbi asserts, that the etymological derivation of Yahweh is “He/She” (HUHI). His argument requires that the Tetragrammaton be read, not from right to left (as Hebrew always is), but from left to right: The four-Hebrew-letter name of God, which scholars refer to as the Tetragrammaton, YHWH, was probably not pronounced “Jehovah” or “Yahweh,” as some have guessed. The Israelite priests would have read the letters in reverse as Hu/Hi—in other words, the hidden name of God was Hebrew for “He/She.” Some biblical scholars say that “Yahweh” is derived from the third-person singular of the verb “to be” (hayah), whether a qal imperfect (“he is” or “he will be”) or the causative hiphil imperfect (“he causes to come into being, he creates”). This view is confirmed by numerous lines of evidence: the interpretation given in Exod 3:14 (“Say to the sons of Israel, ‘ehyeh [‘I am’ or ‘I will be’ (who I am/will be)] sent me to you”); the use of shortened forms of Yahweh at the end (“Yah” or “Yahu”) or beginning (“Yeho” or “Yo”) of Hebrew names; the spelling “Yabe” known to the Samaritans; and transliterations “Yao,” “Ya-ou-e,” and “Ya-ou-ai” in some Greek texts.