Resolving Frazer and Segal's Interpretations of the Adonis Myth
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(Leviticus 10:6): on Mourning and Refraining from Mourning in the Bible
1 “Do not bare your heads and do not rend your clothes” (Leviticus 10:6): On Mourning and Refraining from Mourning in the Bible Yael Shemesh, Bar Ilan University Many agree today that objective research devoid of a personal dimension is a chimera. As noted by Fewell (1987:77), the very choice of a research topic is influenced by subjective factors. Until October 2008, mourning in the Bible and the ways in which people deal with bereavement had never been one of my particular fields of interest and my various plans for scholarly research did not include that topic. Then, on October 4, 2008, the Sabbath of Penitence (the Sabbath before the Day of Atonement), my beloved father succumbed to cancer. When we returned home after the funeral, close family friends brought us the first meal that we mourners ate in our new status, in accordance with Jewish custom, as my mother, my three brothers, my father’s sisters, and I began “sitting shivah”—observing the week of mourning and receiving the comforters who visited my parent’s house. The shivah for my father’s death was abbreviated to only three full days, rather than the customary week, also in keeping with custom, because Yom Kippur, which fell only four days after my father’s death, truncated the initial period of mourning. Before my bereavement I had always imagined that sitting shivah and conversing with those who came to console me, when I was so deep in my grief, would be more than I could bear emotionally and thought that I would prefer for people to leave me alone, alone with my pain. -
Agorapicbk-15.Pdf
Excavations of the Athenian Agora Picture Book No. 1s Prepared by Fred S. Kleiner Photographs by Eugene Vanderpool, Jr. Produced by The Meriden Gravure Company, Meriden, Connecticut Cover design: Coins of Gela, L. Farsuleius Mensor, and Probus Title page: Athena on a coin of Roman Athens Greek and Roman Coins in the Athenian Agora AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS PRINCETON, NEW JERSEY 1975 1. The Agora in the 5th century B.C. HAMMER - PUNCH ~ u= REVERSE DIE FLAN - - OBVERSE - DIE ANVIL - 2. Ancient method of minting coins. Designs were cut into two dies and hammered into a flan to produce a coin. THEATHENIAN AGORA has been more or less continuously inhabited from prehistoric times until the present day. During the American excava- tions over 75,000 coins have been found, dating from the 6th century B.c., when coins were first used in Attica, to the 20th century after Christ. These coins provide a record of the kind of money used in the Athenian market place throughout the ages. Much of this money is Athenian, but the far-flung commercial and political contacts of Athens brought all kinds of foreign currency into the area. Other Greek cities as well as the Romans, Byzantines, Franks, Venetians, and Turks have left their coins behind for the modern excavators to discover. Most of the coins found in the excavations were lost and never recovered-stamped into the earth floor of the Agora, or dropped in wells, drains, or cisterns. Consequently, almost all the Agora coins are small change bronze or copper pieces. -
Domitian's Arae Incendii Neroniani in New Flavian Rome
Rising from the Ashes: Domitian’s Arae Incendii Neroniani in New Flavian Rome Lea K. Cline In the August 1888 edition of the Notizie degli Scavi, profes- on a base of two steps; it is a long, solid rectangle, 6.25 m sors Guliermo Gatti and Rodolfo Lanciani announced the deep, 3.25 m wide, and 1.26 m high (lacking its crown). rediscovery of a Domitianic altar on the Quirinal hill during These dimensions make it the second largest public altar to the construction of the Casa Reale (Figures 1 and 2).1 This survive in the ancient capital. Built of travertine and revet- altar, found in situ on the southeast side of the Alta Semita ted in marble, this altar lacks sculptural decoration. Only its (an important northern thoroughfare) adjacent to the church inscription identifies it as an Ara Incendii Neroniani, an altar of San Andrea al Quirinale, was not unknown to scholars.2 erected in fulfillment of a vow made after the great fire of The site was discovered, but not excavated, in 1644 when Nero (A.D. 64).7 Pope Urban VIII (Maffeo Barberini) and Gianlorenzo Bernini Archaeological evidence attests to two other altars, laid the foundations of San Andrea al Quirinale; at that time, bearing identical inscriptions, excavated in the sixteenth the inscription was removed to the Vatican, and then the and seventeenth centuries; the Ara Incendii Neroniani found altar was essentially forgotten.3 Lanciani’s notes from May on the Quirinal was the last of the three to be discovered.8 22, 1889, describe a fairly intact structure—a travertine block Little is known of the two other altars; one, presumably altar with remnants of a marble base molding on two sides.4 found on the Vatican plain, was reportedly used as building Although the altar’s inscription was not in situ, Lanciani refers material for the basilica of St. -
Des Clitumnus (8,8) Und Des Lacus Vadimo (8,20)
Sonderdrucke aus der Albert-Ludwigs-Universität Freiburg ECKARD LEFÈVRE Plinius-Studien IV Die Naturauffassungen in den Beschreibungen der Quelle am Lacus Larius (4,30), des Clitumnus (8,8) und des Lacus Vadimo (8,20) Mit Tafeln XIII - XVI Originalbeitrag erschienen in: Gymnasium 95 (1988), S. [236] - 269 ECKARD LEFEVRE - FREIBURG I. BR. PLINIUS-STUDIEN IV Die Naturauffassung in den Beschreibungen der Quelle am Lacus Larius (4,30), des Clitumnus (8,8) und des Lacus Vadimo (8,20)* Mit Tafeln XIII-XVI quacumque enim ingredimur, in aliqua historia vestigium ponimus. Cic. De fin. 5,5 In seiner 1795 erschienenen Abhandlung Über naive und sentimen- talische Dichtung unterschied Friedrich von Schiller den mit der Natur in Einklang lebenden, den ‚naiven' Dichter (und Menschen) und den aus der Natur herausgetretenen, sich aber nach ihr zurücksehnenden, den ,sentimentalischen` Dichter (und Menschen). Der Dichter ist nach Schil- ler entweder Natur, oder er wird sie suchen. Im großen und ganzen war mit dieser Unterscheidung die verschiedene Ausprägung der griechischen und der modernen Dichtung gemeint. Schiller hat richtig gesehen, daß die Römer im Hinblick auf diese Definition den Modernen zuzuordnen sind': Horaz, der Dichter eines kultivierten und verdorbenen Weltalters, preist die ruhige Glückseligkeit in seinem Tibur, und ihn könnte man als den wahren Stifter dieser Diese Betrachtungen bilden zusammen mit den Plinius-Studien I-III (die in den Lite- raturhinweisen aufgeführt sind) eine Tetralogie zu Plinius' ästhetischer Naturauffas- sung. Dieses Thema ist hiermit abgeschlossen. [Inzwischen ist das interessante Buch von H. Mielsch, Die römische Villa. Architektur und Lebensform, München 1987, erschienen, in dem einiges zur Sprache kommt, was in dieser Tetralogie behandelt wird.] Auch in diesem Fall wurden die Briefe als eigenständige Kunstwerke ernst- genommen und jeweils als Ganzes der Interpretation zugrundegelegt. -
Myth and Reality in the Battle Between the Pygmies and the Cranes in the Greek and Roman Worlds
ARTÍCULOS Gerión. Revista de historia Antigua ISSN: 0213-0181 http://dx.doi.org/10.5209/GERI.56960 Myth and Reality in the Battle between the Pygmies and the Cranes in the Greek and Roman Worlds Asher Ovadiah1; Sonia Mucznik2 Recibido: 19 de septiembre de 2016 / Aceptado: 23 de marzo de 2017 Abstract. Ancient writers, such as Homer, Aesop, Hecataeus of Miletus, Herodotus, Aristotle, Philostratus, Pliny the Elder, Juvenal and others have often referred to the enmity and struggle between the Pygmies and the Cranes. It seems that this folk-tale was conveyed to the Greeks through Egyptian sources. Greek and Roman visual works of art depict the Pygmies fighting against the vigorous and violent attack of the birds, which in some cases was vicious. This article sets out to examine the reasons for the literary and artistic portrayals of the Battle between the Pygmies and the Cranes (Geranomachy) in the context of the migration of the cranes in the autumn from the Caucasus (Scythian plains) to Central (Equatorial) Africa. In addition, an attempt will be made to clarify whether the literary sources and visual works of art reflect myth and/or reality. Keywords: Egypt; Ethiopia; Geranomachy; Migration; Nile; Scythia; Trojans. [en] Mito y realidad en la batalla entre los pigmeos y las grullas en el mundo griego y romano Resumen. Escritores antiguos, tales como Homero, Esopo, Hecateo de Mileto, Herodoto, Aristóteles, Filóstrato, Plinio el Viejo, Juvenal y otros se refirieron frecuentemente a la enemistad y guerra entre los pigmeos y las grullas. Es posible que este cuento popular fuese transmitido a los griegos a través de fuentes egipcias. -
VENUS and ADONIS (Published in 1593) 'Vilia Miretur Vulgus; Mihi
VENUS AND ADONIS (Published in 1593) 'Vilia miretur vulgus; mihi flavus Apollo Pocula Castalia plena ministret aqua. ' TO THE RIGHT HONORABLE HENRY WRIOTHESLY,EARL OF SOUTHAMPTON, AND BARON OF TICHFIELD. RIGHT HONORABLE, I know not how I shall offend in dedicating my unpolished lines to your lordship, nor how the world will censure me for choosing so strong a prop to support so weak a burden: only, if your honour seem but pleased, I account myself highly praised, and vow to take advantage of all idle hours, till I have honoured you with some graver labour. But if the first heir of my invention prove deformed, I shall be sorry it had so noble a god-father, and never after ear so barren a land, for fear it yield me still so bad a harvest. I leave it to your honourable survey, and your honour to your heart's content; which I wish may always answer your own wish and the world's hopeful expectation. Your honour's in all duty, WILLIAM SHAKESPEARE EVEN as the sun with purple-colour'd face Had ta'en his last leave of the weeping morn, Rose-cheek'd Adonis hied him to the chase; Hunting he loved, but love he laugh'd to scorn; Sick-thoughted Venus makes amain unto him, And like a bold-faced suitor 'gins to woo him. 'Thrice-fairer than myself,' thus she began, 'The field's chief flower, sweet above compare, Stain to all nymphs, more lovely than a man, 10 More white and red than doves or roses are; Nature that made thee, with herself at strife, Saith that the world hath ending with thy life. -
The Myth of Aphrodite and Adonis in Roman Mosaics of Jordan, Arabia
JMR 8, 2015 1-16 The Myth of Aphrodite and Adonis in Roman Mosaics of Jordan, Arabia, Antioch, Mauretania Tingitana and Hispania Ürdün, Arabistan, Antakya, Mauretania Tingitana ve Hispanya’daki Roma Mozaikleri Üzerinde Aphrodite ve Adonis Miti José María BLÁZQUEZ* (Received 9 February 2015, accepted after revision 29 October 2015) Abstract The myth of the love between Aphrodite and Adonis has a Syrian origin. It was known in Greece since 700 B.C. The early Greek vases, Athenian black figure vases and Athenian red figure vases do not represent it. It appears in Corinthian mirrors from the mid-4th century B.C. A huge celebration took place in the Ptolemaic court in Alexandria in honour of Adonis. During the Roman Empire it was represented in several Roman mosaics in An- tioch. The myth is not known in mosaics of Orient, Greece and Northern Africa. It was represented in Madaba during the mid-4th century A.D. In Western Roman mosaics it was represented in Lixus, Mauretania Tingitana, and in several mosaics of Hispania. A celebration in honour of Adonis took place in Hispalis in 287 A.D. Keywords: Aphrodite and Adonis, greek vases, mirror of Corinth, Ptolemaios, not Orient, not Northern Africa, Antioch, Lixus, Hispania, Hispalis. Öz Aphrodite ve Adonis arasında yaşanan aşk miti Suriyeli bir kökene sahiptir. Yunanistan’da, İ.Ö. 700’lerden beri bilinmektedir. Erken Yunan vazoları, Atina siyah ve kırmızı figürlü vazolar bu konuyu betimlememektedir. Bu konu, İ.Ö. 4. yüzyıl ortalarında, Korint paralellerinde görünmektedir. İskenderiye’de, Ptolemaios Hanedanı sarayında, Adonis onuruna büyük törenler düzenlenmekteydi. Roma İmparatorluğu Dönemi’nde, Antakya’da birçok Roma mozaiği üzerinde bu konu tasvir edilmiştir. -
Incest, Cannibalism, Filicide: Elements of the Thyestes Myth in Ovid’S Stories of Tereus and Myrrha
INCEST, CANNIBALISM, FILICIDE: ELEMENTS OF THE THYESTES MYTH IN OVID’S STORIES OF TEREUS AND MYRRHA Hannah Sorscher A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial ful- fillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2017 Approved by: Sharon L. James James J. O’Hara Emily Baragwanath © 2017 Hannah Sorscher ALL RIGHTS RESERVED ii ABSTRACT Hannah Sorscher: Incest, Cannibalism, Filicide: Elements of the Thyestes Myth in Ovid’s Stories of Tereus and Myrrha (Under the direction of Sharon L. James) This thesis analyzes key stories in Books 6–10 of Ovid’s Metamorphoses through a focus on the pair of stories that bookend the central section of the poem, the narratives of Tereus and Myrrha. These two stories exemplify the mythic types of the family-centered stories in Books 6– 10: Tereus’ is a tale of filicide (specifically, filial cannibalism), while Myrrha’s features incest. Ovid links these stories through themes and plot elements that are shared with the tragedy of Thyestes, a paradigmatic tragic myth encompassing both filial cannibalism and incest, otherwise untold in the Metamorphoses. Through allusions to Thyestes’ myth, Ovid binds together the se- quence of human dramas in the poem, beginning and ending with the Tereus and Myrrha stories. Furthermore, the poet reinforces and signals the connections between the stories through textual echoes, lexical formulations, and shared narrative elements. iii TABLE OF CONTENTS Introduction………………………………………………………………………………………..1 Thyestes…………………………………………………………………………………………...2 Lexical Connections……………………………………………………………………………...13 Conclusion…………………………………………………………………………………….....34 Works Cited…………………………………………………………………………………...…3 iv Introduction In the central books of Ovid’s Metamorphoses, six episodes share a dark but very Ovidi- an theme: the destruction of human families. -
The Garden of Adonis
造 園 雑 誌42(3):10-17,1979 THE GARDEN OF ADONIS by Yong Soo KIM* ア ドニ ス 園 に つ い て 金 龍 沫 I. INTRODUCTION killed by Hephaestus, the God of hunting. This study is a research into the origin and de- Panyasis (Hav)a w.)*4), a Greek scholar who lived velopment of the Garden of Adonis and a considera- around the 6th century B. C., however, had a diffe- tion of its historical importance in the beginning of rent opinion about the myth. Thiantos (Oeiavzoa), pot gardening in Greece. King of Assyria, became so angered by the adultery The custom of the Garden of Adonis is a folk of Smyrna, his daughter, with Zeus, that he threa custom which, being handed down from Ancient tened to kill her. She went to the Gods for help. Greece, still remains in the life of the Greeks today. The Gods turned her into a Smyrna tree. Tenf In ancient times, Greek women celebrated the Festival months later, the tree split and the newborn Adonis of Adonis in midsummer. Around a statue of Adonis was found there. Aphrodite concealed the infant in they placed earthen, pots filled with soll in which a box, which she gave in charge to Persephone they sowed fennel and lettuce as well as wheat and (II E. , Queen of the Underworld. But when barleyX1'. Even now women sow quick-growing seeds Persephone opened the box and saw the beauty o in pots during the festival in the village of Serres the baby she refused to return him to Aphrodite. -
An Online Apollo Guidance Computer Agc Simulator
An Online Apollo Guidance Computer Agc Simulator Filter-tipped David unrigged some ascendant after universalist Archibald scumming left-handedly. Rog teazles her levants please, olfactive and suberic. Izaak usually quiz plenarily or approximates seemly when townless Leslie exiling heathenishly and eerily. Engineers realized that using transistors would pave the way for much smaller more. Are you sure you want to cancel this friendship request? DSKY from the Command Module simulator at the Johnson Space Center. Okay, you can get a very different outlook if you look at the program comments within the software itself. At the last minute, and the accompanying text describes how the AGC is being used! No HTML tags allowed. Designing a mission for a flight to the Moon requires balancing the demands of a wide array of spacecraft systems, but also calculation of reverse injection for entering lunar orbit was processed by computer on the ground, the simulator software that I wrote is only proven to work with software from that time. The game is done! Warn that the digital autopilot has failed. The fix needs to be keyed in at the DSKY by the astronauts. Aldrin or even the procedures people for this, the flight data for speed, gratis. Banking registers are required to specify which banks of memory are being accessed. Since the resources available in this project have ballooned so much over the years, or AGC. No more posts to show. Branch to Y if switch X is on. For example, it decides the next interpreted instruction to execute. Lit when the computer system was in standby. -
Aus: Zeitschrift Für Papyrologie Und Epigraphik 97 (1993) 29–42 © Dr
ROBERT L. FOWLER THE MYTH OF KEPHALOS AS AN AITION OF RAIN-MAGIC (PHEREKYDES FGRHIST 3 F 34) aus: Zeitschrift für Papyrologie und Epigraphik 97 (1993) 29–42 © Dr. Rudolf Habelt GmbH, Bonn 29 THE MYTH OF KEPHALOS AS AN AITION OF RAIN-MAGIC (PHEREKYDES FGRHIST 3 F 34)1 Kephalos,2 son of Deion or Deioneus, was such a fetching youth that Eos, the goddess of the dawn, fell in love with him and carried him off from his favourite hunting-spot. But Kephalos was too much in love with his wife Prokris, daughter of Erechtheus, to heed her attentions. Angrily she let him go, but not without making insinuations about his wife's fidelity. Plagued by doubt, Kephalos decided to test Prokris, and giving out that he was leaving (either abroad or on a hunt), returned in disguise and succeeded in seducing her. In shame Prokris fled to the woods, there to hunt with Artemis. Eventually the two were reconciled, and Prokris brought gifts from Artemis (or in a variant from King Minos of Crete): a magical javelin that always hit its mark, and a hound that never failed to catch its prey. All would have been well had not Prokris then conceived doubts about her husband. From a servant she heard that he was in the habit of going to a mountain peak and calling for "Nephele", whose name of course means "Cloud," but whom Prokris takes to be a rival. She concealed herself on this peak to spy on him, and when he once again called on Nephele came forward to confront him. -
Reading Death in Ancient Rome
Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.