Helen and Pandora: a Comparative Study with Emphasis on the Eidolon Theme As a Concept of Eris
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Narrative Strategies: Communication in the Plays of Aeschylus and Sophocles
UNIVERSITY COLLEGE LONDON PhD THESIS NARRATIVE STRATEGIES: COMMUNICATION IN THE PLAYS OF AESCHYLUS AND SOPHOCLES BARBARA LOUISE COWARD B!BL LONDON ProQuest Number: 10045693 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10045693 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT This thesis explores narrative theories and their application to ancient tragedy. It is divided into three sections: SECTION I argues that it is valid to apply narrative theory to drama. It then questions the view that narrative and drama should be understood as polarised modes of communication ("showing" versus "telling", in twentieth century terms). It argues for intrinsic advantages in message narrative. All narratives in tragic rhesis are then divided into two temporal categories (1) short- range narratives, including the "messenger speech" and (2) longer range narratives of portent, prophecy, dream and curse (PPDCs). Within the episodes of tragedy, a suspenseful structure is often built up by a juxtaposition of (1) and (2). SECTION II: AESCHYLUS' surviving work is fluid in structure. However, he shows a tendency to create suspense by the build-up of deliberate delays and deceits together with an ambiguous dream or prophecy. -
The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
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. -
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. , -
1996 Njcl Certamen Round A1 (Revised)
1996 NJCL CERTAMEN ROUND A1 (REVISED) 1. Who immortalized the wife of Quintus Caecilius Metellus as Lesbia in his poetry? (GAIUS VALERIUS) CATULLUS What was probably the real name of Lesbia? CLODIA What orator fiercely attacked Clodia in his Pro Caelio? (MARCUS TULLIUS) CICERO 2. According to Hesiod, who was the first born of Cronus and Rhea? HESTIA Who was the second born? DEMETER Who was the fifth born? POSEIDON 3. Name the twin brothers who fought in their mother's womb. PROETUS & ACRISIUS Whom did Proetus marry? ANTIA (ANTEIA) (STHENEBOEA) With what hero did Antia fall in love? BELLEROPHON 4. Give the comparative and superlative forms of mult§ PLâRS, PLâRIM¦ ...of prÇ. PRIOR, PR¦MUS ...of hebes. HEBETIOR, HEBETISSIMUS 5. LegÇ means “I collect.” What does lectitÇ mean? (I) COLLECT OFTEN, EAGERLY Sitis means “thirst.” What does the verb sitiÇ mean? (I) AM THIRSTY / THIRST CantÇ means “I sing.” What does cantillÇ mean? (I) CHIRP, WARBLE, HUM, SING LOW 6. Differentiate in meaning between p~vÇ and paveÇ. P}VÆ -- PEACOCK PAVEÆ -- (I) FEAR, TREMBLE Differentiate in meaning between cavÇ and caveÇ. CAVÆ -- I HOLLOW OUT CAVEÆ -- I TAKE HEED, BEWARE Differentiate in meaning between modo (must pronounce with short “o”) and madeÇ. MODO -- ONLY, MERELY, BUT, JUST, IMMEDIATELY, PROVIDED THAT MADEÆ -- I AM WET, DRUNK Page 1 -- A1 7. What two words combine to form the Latin verb malÇ? MAGIS & VOLÆ What does malÇ mean? PREFER M~la is a contracted form of maxilla. What is a m~la? CHEEK, JAW 8. Which of the emperors of AD 193 executed the assassins of Commodus? DIDIUS JULIANUS How had Julianus gained imperial power? BOUGHT THE THRONE AT AN AUCTION (HELD BY THE PRAETORIANS) Whom had the Praetorians murdered after his reign of 87 days? PERTINAX 9. -
The Odyssey and the Desires of Traditional Narrative
The Odyssey and the Desires of Traditional Narrative David F. Elmer* udk: 82.0-3 Harvard University udk: 821.14-13 [email protected] Original scientific paper Taking its inspiration from Peter Brooks’ discussion of the “narrative desire” that structures novels, this paper seeks to articulate a specific form of narrative desire that would be applicable to traditional oral narratives, the plots of which are generally known in advance by audience members. Thematic and structural features of theOdyssey are discussed as evidence for the dynamics of such a “traditional narrative desire”. Keywords: Narrative desire, Peter Brooks, Odyssey, oral tradition, oral literature In a landmark 1984 essay entitled “Narrative Desire”, Peter Brooks argued that every literary plot is structured in some way by desire.1 In his view, the desires of a plot’s protagonist, whether these are a matter of ambition, greed, lust, or even simply the will to survive, determine the plot’s very readability or intelligibility. Moreover, for Brooks the various desires represented within narrative figure the desires that drive the production and consumption of narrative. He finds within the narrative representation of desire reflections of the desire that compels readers to read on, to keep turning pages, and ultimately of an even more fundamental desire, a “primary human drive” that consists simply in the “need to tell” (Brooks 1984, 61). The “reading of plot,” he writes, is “a form of desire that carries us forward, onward, through the text” (Brooks 1984, 37). When he speaks of “plot”, Brooks has in mind a particular literary form: the novel, especially as exemplified by 19th-century French realists like Honoré de Balzac and Émile Zola. -
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. -
Pandora and the Decorative Program of the Parthenon
Pandora and the Decorative Program of the Parthenon The inclusion of the image of Pandora on the base of the statue of Athena Parthenos has puzzled scholars for generations: why this “sinner” in the triumphalistic shrine to Athens’ victory over the Persians? Is she the disobedient “anti-Athena”? A warning to the women of Athens? In fact, considering some possible reasons for the Pandora may shed a more nuanced light on the entire decorative scheme of the Parthenon. In this paper I would like to propose that Pandora – gift of the gods, the first wife, and mother of the human race-- represents civilization, the polis, conceived in the same feminized language as the entire Parthenon schema. It is fitting that the temple of Athena the Virgin expresses a civic and even militaristic message through the language of the female body, since Athena herself expresses the glory of war in the service of the polis in her feminine person. Pandora must be seen in the context of the entire Parthenon decorative program, which intertwines several themes that may be summarized here: • Gift; • Birth; • Civilization or civic spirit, frequently envisioned in terms of the female body; • Victory; • Gift of the peplos to Athena at the Panathenaia; With these images in view, one enters the naos and confronts the statue of Athena Parthenos, adding the following themes: • Virgin; • Victory; • Civilization/civic spirit, again envisioned in terms of the female body. Into this visual context is set the Pandora frieze that adorns the base of Athena’s statue. The virgin Pandora is a subordinating gift on the part of the gods, a condign punishment, in fact, for man’s “attack” on the hegemony of the gods, not so different from that of the giants (Hes. -
The English Dream Vision
The English Dream Vision ANATOMY OF A FORM J. Stephen Russell The English Dream Vision ANATOMY OF A FORM By J. Stephen Russell The first-person dream-frame nar rative served as the most popular English poetic form in the later Mid dle Ages. In The English Dream Vision, Stephen Russell contends that the poetic dreams of Chaucer, Lang- land, the Pearl poet, and others employ not simply a common exter nal form but one that contains an internal, intrinsic dynamic or strategy as well. He finds the roots of this dis quieting poetic form in the skep ticism and nominalism of Augustine, Macrobius, Guillaume de Lorris, Ockham, and Guillaume de Conches, demonstrating the interdependence of art, philosophy, and science in the Middle Ages. Russell examines the dream vision's literary contexts (dreams and visions in other narratives) and its ties to medieval science in a review of medi eval teachings and beliefs about dreaming that provides a valuable survey of background and source material. He shows that Chaucer and the other dream-poets, by using the form to call all experience into ques tion rather than simply as an authen ticating device suggesting divine revelation, were able to exploit con temporary uncertainties about dreams to create tense works of art. continued on back flap "English, 'Dream Vision Unglisfi (Dream Vision ANATOMY OF A FORM J. Stephen Russell Ohio State University Press • Columbus Copyright © 1988 by the Ohio State University Press. All rights reserved. Quotations from the works of Chaucer are taken from The Complete Works of Geoffrey Chaucer, ed. -
©Copyright 2020 Anna E Simas
©Copyright 2020 Anna E Simas Killer Queen: Clytemnestra as Goddess, Heroine, and Monster Anna E Simas A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Ruby Blondell, Chair Olga Levaniouk Kathryn Topper Program Authorized to Offer Degree: Classics University of Washington Abstract Killer Queen: Clytemnestra as Goddess, Heroine, and Monster Anna E Simas Chair of the Supervisory Committee: Ruby Blondell Classics This dissertation examines the mythological figure of Clytemnestra across genre and time. From Homeric poetry through late Greek tragedy, this duplicitous husband-murderer reflects ancient Greek male anxieties about women. I argue that the conceptualization of Clytemnestra shifts over time and according to generic conventions, and that authors portray her as heroic, monstrous, or divine in order to advance their own agendas about the dangerousness of women to male society. We will see that there is no universal conception of Clytemnestra: while many authors treat her as an example of the threat of the feminine, others explore the complexities of her motives, even presenting relatively sympathetic discussions of her situation. Although she is never fully exculpated, her actions are often rationalized as a consequence of her mistreatment by Agamemnon. Such a topic naturally raises questions about structural misogyny in ancient Greece, but as we shall see, many modern scholars have reproduced this misogyny in scholarship on Clytemnestra. Thus, a major goal of this project is to identify and resist the sexism of such scholarship. This is the first comprehensive study of Clytemnestra across time and genre, and integrates both literary and visual sources with the goal of producing an anti-misogynistic, holistic portrait of this important cultural figure. -
Microsoft Word
aarti ·s# agued colle·# fe·# le· pl· ren·# par·ise# par·ised# appro ·ach ·achable ·ached b·tes g· g·ed g·eer# bandh ·s# aband ·ed# ·ing# ·on ·oned unpl·# v·# par·ises# par·ism ·aches ·aching ·bate g·eers# g·s vineg·te# bania ·n ·ns ·s# ·onedly# ·onee# aguti ·s# par·isms par·ist# ·bated ·bates ·bating arsed enhe·# f·# he· inhe·# bants absor· cory· distur·# ·onees# ·oner ·oners ahent attr·# attr·s# contr·# par·ists# par·ize# ·bation ·bations misp· p· rehe· smart·# pertur·# tur·# turri·# ·oning ·onment contr·s# par·ized# par·izes# ·bative# ·batory ·of# sp·ly# unhe·# unrehe· bantu ·s# ·onments ·ons ·onware#ahigh ultr· par·led par·ling par·ly# ·ofs# ·pinque# arsey c·# c·s# k·# k·s# barby rhu·# ·onwares# ·s# al·ine# ahuru ·huru# par·s par·wise# ·pinqued# ·pinques# artic anacath·# antip·le ·hoke bardo ·later ·laters ·latries al·ines# al·ite# al·ites# aigas s· t· pseudo·e subpar· ·priable ·priacy# ·priate ·hokes ·le ·led ·les ·ling ·latrous# ·latry ·s# contr· contr·s sar· sar·e ainee det· det·s distr·# unpar·# unpar·ed ·priated ·priates ·priator ·s# ·ulable ·ulacies bom·n bom·ns sar·es sar·s distr·s# mount·r allis ·es# b·ta b·tae b·tas# ·s# ·vable ·vably ·val ·ulacy ·ular ·ulate barra ·ble ·can# ·cans# ·ce# abbed backst· bl· c· conf· cr· mount·rs retr· retr·s tr· b·tic b·tics b·tite# ·vals ·vance# ·vances# ·ulated ·ulately ·ulates ·ces# ·ck ·cked ·cker cr·ly cr·ness d· dr· fr·# tr·s tr·ship tr·ships b·tites# bimet·m ·ve ·ved ·ver ·vers ·ves ·ulating ·ulation ·ulative ·ckers ·cking ·ckings# g· gr· j· kab·# keb·# n· ainga ·s# k·# k·s# bimet·ms bimet·t -
ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J.