Achelous, the River God
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General Index
GENERAL INDEX A.GILIM, and n. Aesopic tradition, , and abstractions, n. nn. –, Acarnania, Aetna, , Acastus, Aetna, n. Accius, and n. Agamemnon, n. , , , accusative, , n. , –, , –, , – Agdistis, Achelous, Agenor, Achilles, , , , , , , , ages, myth of, see races, myth of –, , , , , Agias of Troezen, , Acontius, , n. , , agriculture, , , , , , – and n. , , , , , –, Actaeon, n. , , , , n. , –, ; Actor, agriculture section in Works and Acusilaus of Argos, and n. , Days, , , –, and n. Agrius, Adad, aidos, n. , ; personified, , adamant, adjective(s), , , Aietes, Admonitions of Ipuwar,andn. Aigipan, Adodos, ainos, , –, Adrasteia, Aither, and n. Adriatic (sea), Aithon, , n. Aegean (sea), , , aitiology, , , nn. –, Aegimius, – and n. , , , and Aegle, , n. , , , , Aelian Ajax son of Oileus, Historical miscellany, , Ajax son of Telamon, , , – and n. Aeolic dialect, , –, , Akkadian, n. , n. , , , , –; East Al Mina, , or Asiatic Aeolic, –, Alalu, , n. , , Alcaeus, , , n. Aeolids, , , Alcidamas, , , , , , Aeolis, Eastern, , , –, , n. Aeolism, , , , Alcinous, , n. , n. , Aeolus, –, , , , Aeschines, Alcmaeonidae, Aeschylus, , , , and Alcmaeonis, n. , Alcman, n. , and n. , Prometheus Bound, n. , and n. n. Alcmaon, – general index Alcmene, –, –, Antoninus Liberalis, , , n. , , , Anu, –, , –, –, aoidos see singer Alcyone, , , , aorist, , –, Alexander Aetolus, , n. apate, ; personified, Alexander the Great, n. , Aphrodite, , , n. , and n. , n. , and n. , -
What Is Greek About Greek Mythology?
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 4 | 1991 Varia What is Greek about Greek Mythology? David Konstan Electronic version URL: http://journals.openedition.org/kernos/280 DOI: 10.4000/kernos.280 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1991 Number of pages: 11-30 ISSN: 0776-3824 Electronic reference David Konstan, « What is Greek about Greek Mythology? », Kernos [Online], 4 | 1991, Online since 11 March 2011, connection on 01 May 2019. URL : http://journals.openedition.org/kernos/280 ; DOI : 10.4000/kernos.280 Kernos Kernos, 4 (1991), p. 11-30. WHAT IS GREEK ABOUT GREEK MYTHOLOGY? The paper that follows began as a lecture, in which 1 attempted to set out for a group of college teachers what was specifie to Greek mythology, as opposed to the mythologies of other peoples1. Of course, there is no single trait that is unique to Greek myths. But there are several characteristics of Greek mythology that are, despite the intense attention it has received for decades and even centuries, still not commonly noticed in the scholarly literature, and which, taken together, contribute to its particular nature. By the device of contrasting with Greek myths a single narrative from a very different society, 1 thought that 1 might set in relief certain features that have by and large been overlooked, in part precisely because they are so familiar as to seem perfectly natural. My survey of the characteristics of Greek mythology, needless to say, makes no pretense to being exhaustive. -
Achelous & Hercules
Achelous & Hercules Achelous was the god of the most powerfully flowing mountain had fallen on me. Hercules was a mountain river in Greece, and so was the chief of all the river gods. of a man.” The land along the river was ruled by the king of the nearby city of Calydon. The king had a beautiful daughter The god saw he could not beat Hercules in a regulation named Dejanira. When it came time for Dejanira to wrestling match. It was then that he took the form of a marry, her father announced a contest: the strongest snake that slithered out of the strong man’s arms. He of her suitors would win her hand. coiled himself and gave a hiss. Hercules laughed and spoke for the first time. Achelous, the river god, was by far the strongest in the region. But Dejanira’s beauty was known everywhere, “A snake!” he said. “Is that the best you can do? I’ve been so it wasn’t long before Hercules came to Calydon to killing snakes since I was a babe in the crib.” try his luck. What might have seemed a wild boast was entirely true, Hercules was the strongest mortal in the world, but and Achelous knew it. Hercules’s famous first feat in life Achelous, being a god, had some advantages over him. was strangling two snakes that had crawled into his crib. He could change his shape at will. He could become a snake that curved like the winding river. He could Achelous the snake decided to become Achelous the become a bull that roared like the roaring river. -
The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame. -
Durham E-Theses
Durham E-Theses Rethinking mythology in Greek museums through contemporary culture Antonopoulou, Marina How to cite: Antonopoulou, Marina (2010) Rethinking mythology in Greek museums through contemporary culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2511/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk lml'Hlm:ING MYTHOLOGY IN <mEEK »KUSE{]Ml$ THROUGH CONTEMPORARY ClJL1UllB MARINAANTONOPOULOU Appendices The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. 2 6 MAY 2010 Appendix 1 Socratis Malamas Date: 15/01/2005 Venue: Hotel'Olympia', Thessaloniki. Q: Could you tell me what is the first thing that comes to mind when you hear the words 'Greek mythology'? A: The usual, what we learned in school. -
Bulfinch's Mythology
Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34 -
About Rivers and Mountains and Things Found in Them Pp
PSEUDO-PLUTARCH ABOUT RIVERS AND MOUNTAINS AND THINGS FOUND IN THEM Translated by Thomas M. Banchich With Sarah Brill, Emilyn Haremza, Dustin Hummel, and Ryan Post Canisius College Translated Texts, Number 4 Canisius College, Buffalo, New York 2010 i CONTENTS Acknowledgements p. ii Introduction pp. iii-v Pseudo-Plutarch, About Rivers and Mountains and Things Found in Them pp. 1-24 Indices pp. 24-32 Canisius College Translated Texts p. 33 i ACKNOWLEDGEMENTS The cover image is Jean-Antoine Gros’s 1801 painting “Sappho at Leucate,” now at the Musée Baron Gérard, Bayeux (http://www.all-art.org/neoclasscism/gros1.html, accessed June 10, 2010). Though Pseudo-Plutarch has men alone, not women (who choose the noose), fling themselves from precipices, the despair that supposedly drove Sappho to leap to her death from Mt. Leucate is a leitmotif of About Rivers and Mountains and Things Found in Them. Thanks are due to Andrew Banchich and Christopher Filkins for their assistance with a range of technical matters and to Ryan Post, who read and commented on drafts of the translation. ii INTRODUCTION In the spring of 2007, I suggested to four students—Sarah Brill, Emilyn Haremza, Dustin Hummel, and Ryan Post—the preparation of an English translation of ΠΕΡΙ ΠΟΤΑΜΩΝ ΚΑΙ ΟΡΩΝ ΕΠΩΝΥΜΙΑΣ ΚΑΙ ΤΩΝ ΕΝ ΑΥΤΟΙΣ ΕΥΡΙΣΚΟΜΕΝΩΝ, better known, when known at all, by its abbreviated Latin title, De fluviis, About Rivers. Their resultant rough version of a portion of About Rivers, in turn, provided the impetus for the translation presented here. However, while the students worked from Estéban Calderón Dorda’s text in the Corpus Plutarchi Moralium series, for reasons of copyright, I have employed what was the standard edition prior to Dorda’s, that of Rudolph Hercher.1 Only the ninth-century codex Palatinus gr. -
1 Meandering River Resource Rights Irene J. Klaver Introduction As We
Meandering River Resource Rights Irene J. Klaver Introduction As we set out to explore philosophical foundations of territorial rights over river resources, let us ask this question: Can river resource rights meander? That is to say, can we find in the geomorphology of a meandering river a useful analogy for thinking about complex issues? The River Meander (Anatolia, Turkey) once formed a crucial conduit for Mediterranean trade and traffic between Europe, North Africa, and Asia. At its mouth sat the foremost Aegean port city Miletus, acclaimed for the origins of Greek philosophy and science. Historians Herodotus and Strabo mention the Meander’s winding ways, which were so striking that “meander” came to mean riverine sinuosity and to stand for anything twisting and curving. It even became the name for an ornamental pattern. However, while the word carved itself deep into the cultural imagination, the river slipped out of that imagination. The Meander River – the Büyük Menderes River nowadays – is, outside Turkey, a little-known river; the fact that the word and phenomena of meandering refer to a rea,l existing river is all but forgotten. The geomorphological process of meandering is as intricate, twisting, and turning as the curving Meander River. A meandering river takes time while it covers a broad area, scouring the hardest rock, depositing the quickest sands. It is deeply spatial, temporal, and specific – continually finding its trajectory, while making it. It is profoundly responsive to the lay of the land, the nature of the climate, the character of human interventions, and a multitude of other vectors. -
A Temple Wild Podcast Episode 7: the Nymphs of Ancient Greece Transcript You're Listening
A Temple Wild Podcast Episode 7: The Nymphs of Ancient Greece https://atemplewild.com/podcast/nymphs Transcript You're listening to A Temple Wild: Episode 7: The Nymphs of Ancient Greece Hello and welcome to A Temple Wild, where we rediscover the myths of the ancient Greeks through the plants and landscapes that shaped them. My name is Ekstasy and in today's episode we're going to be discussing the nymphs of ancient Greece. In mainstream Greek mythology, meaning the stories that most people know about the ancients, I think the nymphs often take a backseat to the Olympian gods. They are beautiful maidens, usually seen accompanying the gods or playing minor roles in the famous myths. But for those of us who are seeking a deeper connection with Nature, and with the Mediterranean landscape specifically, I think the nymphs are actually in fact the most important beings of ancient Greek myth and plant lore. So what are they, really? Simply stated, they are nature spirits. They are responsible for growing, nurturing, and guarding the natural habitats, plants and animals within their realm. They are often associated with a specific mountain or a forest, a meadow or marsh, a freshwater source or the sea, or other natural region that occurs in the landscape. And they are also often tied with specific trees, plants, or even insects. There are unique names for the different types of nymphs: naiads are freshwater nymphs, nereids are spirits of the sea, oreiads are conifer nymphs, melissae, as you'll remember from an earlier podcast episode, are bee nymphs, there are dozens of names for different types of nymph...but despite their many names, all nymphs do seem to share a few characteristics, the most important one being that they are local entities, their essence and function is intimately tied to the very specific place that they inhabit. -
Classical Myths: Gods, Heroes and Monsters
CLASSICAL MYTHS: GODS, HEROES AND MONSTERS Teachers’ Notes Workshop for Key stage 2 at the Wallace Collection Classical Myths Teachers’ Notes Workshop for Key stage 2 at the Wallace Collection. Come face-to-face with Hercules, Perseus and Classical Myths at the Wallace Collection Apollo, characters from ancient Greek and Roman myths whose stories are told in paintings, Homer’s phrase, ‘winged words’, reaches us from the sculptures, furniture and ceramics. Find out how sixth century B.C. With his own winged words, these stories have inspired artists through the ages Homer wrote many of the great myths and legends of and finish with some observational drawing. This the classical world and, after a visit to the Wallace workshop is aimed at key stage 2 and lasts an hour Collection, students will be inspired not only to and a half. research and explore ways of interpreting them but to write their own. Stories by Homer, Virgil and others from the pre-Christian era were re-discovered centuries later, when Greek and Roman sculptures of gods, goddesses, heroes and heroines were being unearthed and their myths passed down to a new and excited audience in the 16th and 17th centuries A.D. They remain the greatest stories ever told and are the basis of most stories made today. Many of the paintings and sculptures in the Wallace Collection were created during this time and are among the greatest of its treasures. They bring the stories to life in a specific way – portraying drama through movement and emotion captured in paint, bronze and marble, gold and enamel, exciting the viewer and showing off the artist’s prowess in the painting of characters, animals, fabrics, landscape backgrounds and in the nudes that were typical of classical times. -
[PDF]The Myths and Legends of Ancient Greece and Rome
The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia -
Bulfinch's Mythology the Age of Fable by Thomas Bulfinch
1 BULFINCH'S MYTHOLOGY THE AGE OF FABLE BY THOMAS BULFINCH Table of Contents PUBLISHERS' PREFACE ........................................................................................................................... 3 AUTHOR'S PREFACE ................................................................................................................................. 4 INTRODUCTION ........................................................................................................................................ 7 ROMAN DIVINITIES ............................................................................................................................ 16 PROMETHEUS AND PANDORA ............................................................................................................ 18 APOLLO AND DAPHNE--PYRAMUS AND THISBE CEPHALUS AND PROCRIS ............................ 24 JUNO AND HER RIVALS, IO AND CALLISTO--DIANA AND ACTAEON--LATONA AND THE RUSTICS .................................................................................................................................................... 32 PHAETON .................................................................................................................................................. 41 MIDAS--BAUCIS AND PHILEMON ....................................................................................................... 48 PROSERPINE--GLAUCUS AND SCYLLA ............................................................................................. 53 PYGMALION--DRYOPE-VENUS