From Pan to Green Man Paul Himmelein
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Demeter and Dionysos: Connections in Literature, Cult and Iconography Kathryn Cook April 2011
Demeter and Dionysos: Connections in Literature, Cult and Iconography Kathryn Cook April 2011 Demeter and Dionysos are two gods among the Greek pantheon who are not often paired up by modern scholars; however, evidence from a number of sources alluding to myth, cult and iconography shows that there are similarities and connections observable from our present point of view, that were commented upon by contemporary authors. This paper attempts to examine the similarities and connections between Demeter and Dionysos up through the Classical period. These two deities were not always entwined in myth. Early evidence of gods in the Linear B tablets mention Dionysos as the name of a deity, but Demeter’s name does not appear in the records until later. Over the centuries (up to approximately the 6th century as mentioned in this paper), Demeter and Dionysos seem to have been depicted together in cult and in literature more and more often. In particular, the figure of Iacchos in the Eleusinian cult seems to form a bridging element between the two which grew from being a personification of the procession for Demeter, into being a Dionysos figure who participated in her cult. Literature: Demeter and Dionysos have some interesting parallels in literature. To begin with, they are both rarely mentioned in the Homeric poems, compared to other gods like Hera or Athena. In the Iliad, neither Demeter nor Dionysos plays a role as a main character. Instead they are mentioned in passing, as an example or as an element of an epic simile.1 These two divine figures are present even less often in the Odyssey, though this is perhaps a reflection of the fewer appearances of the gods overall, they are 1 Demeter: 2.696. -
'Stupid Midas'
‘Stupid Midas’ Visualising Musical Judgement and Tim Shephard Patrick McMahon Moral Judgement in Italy ca.1520 University of Sheffield 1. Musical Judgement and Moral Judgement 3. A) Cima da Conegliano, The Judgement Sat at the centre of the painting in contemporary elite of Midas, oil on panel, 1513-17. Statens The Ancient Discourse dress, Midas looks straight at the viewer, caught at the exact moment of formulating his faulty musical judgement. Museum for Kunst, Copenhagen. Harmony is governed by proportion, and so is human tem- perament; thus music can affect human behavior ‘For rhythm and harmony penetrate deeply into the mind and take a most powerful hold on it, and, if education is good, bring an impart grace and beauty, if it is bad, the reverse’ (Plato, Republic) Music should therefore play a role in moral education Suggestive ‘music has indeed the power to induce a certain character of soul, and if it can do that, then An older, more position of clearly it must be applied to education’ (Aristotle, Politics) severe Tmolus, in Pan’s bow more modest makes a direct Good musical judgement engenders good moral judgement contemporary link between ‘the proper training we propose to give will make a man quick to perceive the shortcomings attire, also his musician- of works of art or nature …; anything beautiful he will welcome gladly … and so grow in true goodness of character; anything ugly he will rightly condemn and dislike’ (Plato, Republic) interrogates the ship and his viewer with his sexuality. The Renaissance Discourse gaze. -
Arsu and ‘Azizu a Study of the West Semitic "Dioscuri" and the Cods of Dawn and Dusk by Finn Ove Hvidberg-Hansen
’Arsu and ‘Azizu A Study of the West Semitic "Dioscuri" and the Cods of Dawn and Dusk By Finn Ove Hvidberg-Hansen Historiske-filosofiske Meddelelser 97 Det Kongelige Danske Videnskabernes Selskab The Royal Danish Academy of Sciences and Letters DET KONGELIGE DANSKE VIDENSKABERNES SELSKAB udgiver følgende publikationsrækker: THE ROYAL DANISH ACADEMY OF SCIENCES AND LETTERS issues the following series of publications: Authorized Abbreviations Historisk-filosofiske Meddelelser, 8° Hist.Fil.Medd.Dan.Vid.Selsk. (printed area 1 75 x 104 mm, 2700 units) Historisk-filosofiske Skrifter, 4° Hist.Filos.Skr.Dan.Vid.Selsk. (History, Philosophy, Philology, (printed area 2 columns, Archaeology, Art History) each 199 x 77 mm, 2100 units) Matematisk-fysiske Meddelelser, 8° Mat.Fys.Medd.Dan.Vid.Selsk. (Mathematics, Physics, (printed area 180 x 126 mm, 3360 units) Chemistry, Astronomy, Geology) Biologiske Skrifter, 4° Biol.Skr. Dan. Vid.Selsk. (Botany, Zoology, Palaeontology, (printed area 2 columns, General Biology) each 199 x 77 mm, 2100 units) Oversigt, Annual Report, 8° Overs. Dan.Vid.Selsk. General guidelines The Academy invites original papers that contribute significantly to research carried on in Denmark. Foreign contributions are accepted from temporary residents in Den mark, participants in a joint project involving Danish researchers, or those in discussion with Danish contributors. Instructions to authors Manuscripts from contributors who are not members of the Academy will be refereed by two members of the Academy. Authors of papers accepted for publication will re ceive galley proofs and page proofs; these should be returned promptly to the editor. Corrections other than of printer's errors will be charged to the author(s) insofar as the costs exceed 15% of the cost of typesetting. -
Heracles and Philo of Alexandria: the Son of Zeus Between Torah and Philosophy, Empire and Stage
Chapter 8 Heracles and Philo of Alexandria: The Son of Zeus between Torah and Philosophy, Empire and Stage Courtney J. P. Friesen With few competitors, Heracles was one of the most popular and widely re- vered heroes of Greco-Roman antiquity. Though occupying a marginal place in the Homeric epics, he developed in complex directions within archaic Greek poetry, and in Classical Athens became a favorite protagonist among play- wrights, both of tragedy and comedy. From a famed monster-killer, to the trou- bled murderer of his own children, to the comic buffoon of prolific appetites, Heracles remained fixed in the imagination of ancient Greeks and Romans. Moreover, the son of Zeus was claimed as an ancestor for notable statesmen connected to both Alexandria and Rome (including Philip and Alexander of Macedon, the Ptolemies, and Mark Antony), and he was honored at cultic sites around the Mediterranean, including at the heart of the Roman Empire itself on the Ara Maxima. Jews living around the Greek and Roman world will inevitably have encoun- tered the mythologies and cults of Heracles in various forms. For instance, some Jewish writers, reflecting on this hero in light of their own traditions, made attempts to integrate him within the context of biblical genealogies.1 In addition, a natural correlation existed between Samson and Heracles, and al- ready in antiquity their extraordinary physical might was seen as comparable (Eusebius, PE 10.9.7; Augustine, Civ. 18.19).2 Recently, René Bloch has provided a useful survey of references to Heracles in the writings of Josephus in conjunc- tion with the Jewish historian’s wider engagement with Greek mythology.3 In 1 Cleomedus Malchus has Heracles marry the granddaughter of Abraham (Josephus, AJ 1.240–41); and according to unspecified sources, Heracles was the father of Melchizedek (Epiphanius, Pan. -
Poison King: the Life and Legend of Mithradates the Great, Rome's
Copyrighted Material Kill em All, and Let the Gods Sort em Out IN SPRING of 88 BC, in dozens of cities across Anatolia (Asia Minor, modern Turkey), sworn enemies of Rome joined a secret plot. On an appointed day in one month’s time, they vowed to kill every Roman man, woman, and child in their territories. e conspiracy was masterminded by King Mithradates the Great, who communicated secretly with numerous local leaders in Rome’s new Province of Asia. (“Asia” at this time referred to lands from the eastern Aegean to India; Rome’s Province of Asia encompassed western Turkey.) How Mithradates kept the plot secret remains one of the great intelli- gence mysteries of antiquity. e conspirators promised to round up and slay all the Romans and Italians living in their towns, including women and children and slaves of Italian descent. ey agreed to confiscate the Romans’ property and throw the bodies out to the dogs and crows. Any- one who tried to warn or protect Romans or bury their bodies was to be harshly punished. Slaves who spoke languages other than Latin would be spared, and those who joined in the killing of their masters would be rewarded. People who murdered Roman moneylenders would have their debts canceled. Bounties were offered to informers and killers of Romans in hiding.1 e deadly plot worked perfectly. According to several ancient histo- rians, at least 80,000—perhaps as many as 150,000—Roman and Italian residents of Anatolia and Aegean islands were massacred on that day. e figures are shocking—perhaps exaggerated—but not unrealistic. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Fantasy Illustration As an Expression of Postmodern 'Primitivism': the Green Man and the Forest Emily Tolson
Fantasy Illustration as an Expression of Postmodern 'Primitivism': The Green Man and the Forest Emily Tolson , Thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at the University of Stellenbosch. Supervisor: Lize Van Robbroeck Co-Supervisor: Paddy Bouma April 2006 Stellenbosch University https://scholar.sun.ac.za Dedaratfton:n I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any Date o~/o?,}01> 11 Stellenbosch University https://scholar.sun.ac.za Albs tract This study demonstrates that Fantasy in general, and the Green Man in particular, is a postmodern manifestation of a long tradition of modernity critique. The first chapter focuses on outlining the history of 'primitivist' thought in the West, while Chapter Two discusses the implications of Fantasy as postmodern 'primitivism', with a brief discussion of examples. Chapter Three provides an in-depth look at the Green Man as an example of Fantasy as postmodern 'primitivism'. The fmal chapter further explores the invented tradition of the Green Man within the context of New Age spirituality and religion. The study aims to demonstrate that, like the Romantic counterculture that preceded it, Fantasy is a revolt against increased secularisation, industrialisation and nihilism. The discussion argues that in postmodernism the Wilderness (in the form of the forest) is embraced through the iconography of the Green Man. The Green Man is a pre-Christian symbol found carved in wood and stone, in temples and churches and on graves throughout Europe, but his origins and original meaning are unknown, and remain a controversial topic. -
Tradition and Innovation in Olympiodorus' "Orphic" Creation of Mankind Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2009 A Curious Concoction: Tradition and Innovation in Olympiodorus' "Orphic" Creation of Mankind Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. "A Curious Concoction: Tradition and Innovation in Olympiodorus' 'Orphic' Creation of Mankind." American Journal of Philology 130, no. 4 (2009): 511-532. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/classics_pubs/79 For more information, please contact [email protected]. Radcliffe G. Edmonds III “A Curious Concoction: Tradition and Innovation in Olympiodorus' ‘Orphic’ Creation of Mankind” American Journal of Philology 130 (2009), pp. 511–532. A Curious Concoction: Tradition and Innovation in Olympiodorus' Creation of Mankind Olympiodorus' recounting (In Plat. Phaed. I.3-6) of the Titan's dismemberment of Dionysus and the subsequent creation of humankind has served for over a century as the linchpin of the reconstructions of the supposed Orphic doctrine of original sin. From Comparetti's first statement of the idea in his 1879 discussion of the gold tablets from Thurii, Olympiodorus' brief testimony has been the -
Athena from a House on the Areopagus
ATHENA FROM A HOUSE ON THE AREOPAGUS (PLATES 107-112) E XCAVATIONS in 1970 and 1971 in the Athenian Agora revealed a remarkablecol- lection of sculpture from one of the largest of the late Roman houses on the slopes of the Areopagus.1This house, now called House C, was built in the 4th century after Christ with a spaciousplan includingtwo peristylecourts, and it was filled with Greek and Roman marble sculpturesof exceptional quality.2Two significantworks from the house have been I It is a pleasure to acknowledgethe cooperationof H. A. Thompson, T. L. Shear,Jr., and J. McK. Camp II of the Agora Excavationsand Museum, M. Brouskariof the AkropolisMuseum, N. Peppa-Delmouzouof the Epigraphical Museum, and K. Krystalli-Votsi of the National ArchaeologicalMuseum in Athens for allowing me to study and photograph the sculptures included here. I am especially grateful to Evelyn B. Harrison for her continuing encouragementand for permission to publish the Agora material, and to the AmericanSchool of Classical Studies at Athens for its friendly assistance. Works frequentlycited are abbreviatedas follows: Bieber, Copies = M. Bieber, Ancient Copies: Contributionsto the History of Greek and Roman Art, New York 1977 Boardman,GSCP = J. Boardman,Greek Sculpture: The ClassicalPeriod, New York 1985 Karouzou = S. Karouzou, National ArchaeologicalMuseum: Collection of Sculpture. A Cata- logue, Athens 1968 Lawton = C. L. Lawton, Attic Document Reliefs of the Classicaland Hellenistic Periods, diss. PrincetonUniversity, 1984 Leipen = N. Leipen, Athena Parthenos:A Reconstruction,Toronto 1971 Meyer = M. Meyer, Die griechischen Urkundenreliefs,AM Beiheft 13, Berlin 1989 Richter, SSG4 = G. M. A. Richter, The Sculptureand Sculptorsof the Greeks,4th ed., New Haven 1970 Ridgway, FCS = B. -
Global Mapping of Elemental Abundance on Lunar Surface by SELENE Gamma-Ray Spectrometer
Lunar and Planetary Science XXXVI (2005) 2092.pdf Global Mapping of elemental abundance on lunar surface by SELENE gamma-ray spectrometer. 1M. -N. Kobayashi, 1A. A. Berezhnoy, 6C. d’Uston, 1M. Fujii, 1N. Hasebe, 3T. Hiroishi, 4H. Kaneko, 1T. Miyachi, 5K. Mori, 6S. Maurice, 4M. Nakazawa, 3K. Narasaki, 1O. Okudaira, 1E. Shibamura, 2T. Takashima, 1N. Yamashita, 1Advanced Research Institute of Sci.& Eng., Waseda Univ., 3-4-1, Okubo, Shinjuku-ku, Tokyo, 169-8555, Japan, (masa- [email protected]), 2Institute of Space and Astronautical Science, Japan Aerospace Exploration Agency, 3-1-1 Yoshinodai, Sagamihara, Kanagawa, 229-8510, 3Niihama Works, Sumitomo Heavy Industry Ltd., Niihama, Ehime, Japan, Moriya Works, 4Meisei Electric Co., Ltd., 3-249-1, Yuri-ga-oka, Moriya-shi, Ibaraki, 302-0192, 5Clear Pulse Co., 6-25-17, Chuo, Ohta-ku, Tokyo, Japan, 143-0024, 6Centre d’Etude Spatiale des Rayonnements, CNRS/UPS, Colonel Roche, B.P 4346, France. Introduction: Elemental composition on the sur- face of a planet is very important information for solv- ing the origin and the evolution of the planet and also very necessary for understanding the origin and the evolution of solar system. Planetary gamma-ray spec- troscopy is extremely powerful approach for the ele- mental composition measurement. Gamma-ray spec- trometer (GRS) will be on board SELENE, advanced lunar polar orbiter, and employ a large-volume Ge detector of 252cc as the main detector [1]. SELENE GRS is, therefore, approximately twice more sensitiv- ity than Lunar Prospector GRS, four times more sensi- Figure 1: The schematic drawing of SELENE Gamma- tive than APOLLO GRS. -
2 Tales of the Gnomes 4 3 3
Clarinet in Eb Tales of the Gnomes for clarinet quartet / choir WernerDeBleser 1. Blue Cap q=56 2 # #4 œ œ œ œ ˙ œ œ œ & # 4 œ œ œ œ œ œ œ™ œ œ œ œ ˙ œ œ œ œ mp J f 8 4 # # œ œ œ œ œ & # œ œ œ œ œ œ œ f 14 rit. œ™ œ # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & # J ∑ dim. p 2. Korrigan q=120 # #3 . œ . & # 4 œ œ œ œ œ œ œ œ ˙ œ œ œ œ Œ f . 5 # # . œ . 3 # œ œ. œ. œ œ œ œ œ. œ. œ œ œ Œ & . œ. œ ˙ 12 3 # # . œ . & # œ œ œ œ œ œ œ œ ˙ œ œ œ œ Œ f . 19 # # . œ . # œ œ. œ. œ œ œ œ œ. œ. œ œ œ Œ & . œ. nœ ˙ 3. Green Man =52 q 4 ##4 & 4 ˙ ˙ ˙ ˙ pœ œ œ œ œ œ ˙ p 9 4 ## œ & œ œ œ œ œ œ ˙ œ œ œ œ w p œ ˙ 2 Tales of the Gnomes - Clarinet in Eb 4. Trow q=120 2 6 #2 œ œ œ & 4 œ Œ œ œ œ œ œ f mf p. 13 # . 8 & œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ mf . œ œ . p 27 # œ- œ œ - œ - - & œ œ œ œ œ œ œ œ œ œ œ œ œ œ f - - 33 # - œ œ œ œ œ & œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 40 # 8 œ & œ œ œ œ œ œ œ ˙ œ œ œ ˙ ™ œ ˙ p f J 55 # j j œ œ œ œ œ œ œ & œ™ œ ˙ œ™ œ œ œ œ œ œ Œ ˙ ™ J f 5. -
An Engraved Carnelian Gem from Nysa-Scythopolis (Bet She’An)
‘Atiqot 71, 2012 An EngrAvEd CArnEliAn gEm from nysA-sCythopolis (BEt shE’An) gabriEl mAzor The western therma, located on a wide plateau Red carnelian. in the western part of the Roman civic center of Design engraved (intaglio), excellent work- Nysa-Scythopolis (Bet She’an), was concealed manship. by a thick, unstratified accumulation of earth Perfectly preserved, except for a minor chip on and debris. The fill, presumably washed down upper left edge. from the adjacent western hill, had gradually covered the floors of the complex after its Obverse: A nude male figure stands above a destruction in the earthquake of 749 CE. An thick horizontal ground line, facing right, left intact carnelian gemstone was revealed within leg bent forward while the right one is straight, the fill, along with an assortment of pottery and leaning slightly forward. Both hands are raised, coins from the Roman and Byzantine periods. gripping the neck of a lion in an attempt to The gem, originally set in a ring, depicts strangle it. The man’s head, supported by a Heracles in a scene of one of his labors: the thick neck, faces right; his facial features are overcoming of the Nemean lion. blurred, although he seems to be bearded with long, curly hair. The figure is heavy, extremely muscular, and depicted in a sturdy posture, dEsCription its legs forming a balanced triangle. Engaged L101161; B101 × 1407 (elevation -148.44 m) in a combat stance, a rearing, rampant lion Oval (12 × 9 mm, Th 2.5 mm; Fig. 1);1 upper attacks him, facing left.