Skidmore College Classics Department Courses
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Blocking Fathers, Illicit Marriages: Continuity and Change from Sophocles to Menander
Blocking Fathers, Illicit Marriages: Continuity and Change from Sophocles to Menander It is a truth universally acknowledged that the plays of Menander owe a great debt to Classical Athenian drama: connections between plays such as Aristophanes’ Cocalus and Menander were noted in didascalia, and similarly the thematic and structural similarities between New Comedy and the works of Euripides were already recognized in Hellenistic scholarship (Arnott 1972; Csapo 2000; Hunter 2011). Sophocles, on the other hand, is rarely included in this discussion of dramatic influence, more often regarded solely for his role as the pinnacle of tragic poets. It is the purpose of this paper to reanalyze possible connections between the corpus of Sophocles and that of Menander by examining both the Antigone and the Dyscolus as plays employing one of the most familiar stock characters of ancient comedy: the “blocking” father figure. This father figure—whose earliest incarnation arguably belongs to Old Comedy, such as Strepsiades from Clouds—is perhaps best known for his characterization in the plays of Greek New Comedy and their later, Latin iterations. Generally an old and intransigent father, the “blocking” figure is generically defined by his interference in the life of his young offspring; in New Comedy, this interference takes the form of intervention in the budding romance of two young lovers, whose inconvenient marriage will inevitably bring about the typical finale. This character, at first glance, may appear to be a creature created solely for light-hearted drama. Creon of the Antigone, however, whose stubborn and belligerent character has been carefully surveyed for his role within the tragedy itself (see Roisman 1996), additionally shares many features with the father of Menander’s only intact play, Knemon of the Dyscolus. -
The Golden Age of Athens Bellringer: According to Pericles, What Attributes Made Athens Great?
The Golden Age of Athens Bellringer: According to Pericles, what attributes made Athens great? “...we have not forgotten to provide for our weary spirits many relaxations from toil; we have regular games and sacrifices throughout the year; our homes are beautiful and elegant; and the delight which we daily feel in all these things helps to banish sorrow. Because of the greatness of our city, the fruits of the whole earth flow in upon us; so that we enjoy the goods of other countries as freely as our own...To sum up: I say that Athens is the school of Hellas (Greece)...Such is the city for whose sake these men nobly fought and died…” - Pericles, Funeral Oration, in History of the Peloponnesian Wars by Thucydides Bellringer According to what we learned yesterday, why was the time period we’re studying considered a “Golden Age” for Athens? Bellringer The Greeks had contact with many different cultures throughout the ancient world. How did the Egyptians influence Greek culture? FLASHBACK! Why was the development of AGRICULTURE and DOMESTICATION of animals important? How did it change the way humans lived? Objective I can describe the Golden Age of Athens Bellringer After the events of the Persian Wars, Athens was in a state of destruction and had been ruthlessly destroyed by the armies of Xerxes. However, the years following the wars were a “golden age” for Athens. Why might this have happened? Objective I can analyze secondary sources about Ancient Greece The Greeks: Crucible of Civilization ● Pay attention and be respectful ● As you watch, answer the analysis questions (front side) ● Identify important people mentioned throughout (back side) The Parthenon: Design and Architecture ● Pay attention and be respectful ● As you watch, record contributions of Athenian culture to the US ● Differences of building techniques/Similarities between artisans ● Answer Analysis questions Learning Target Review Guide and Learning Stations ● Get your laptop from the cart. -
Middle Comedy: Not Only Mythology and Food
Acta Ant. Hung. 56, 2016, 421–433 DOI: 10.1556/068.2016.56.4.2 VIRGINIA MASTELLARI MIDDLE COMEDY: NOT ONLY MYTHOLOGY AND FOOD View metadata, citation and similar papersTHE at core.ac.ukPOLITICAL AND CONTEMPORARY DIMENSION brought to you by CORE provided by Repository of the Academy's Library Summary: The disappearance of the political and contemporary dimension in the production after Aris- tophanes is a false belief that has been shared for a long time, together with the assumption that Middle Comedy – the transitional period between archaia and nea – was only about mythological burlesque and food. The misleading idea has surely risen because of the main source of the comic fragments: Athenaeus, The Learned Banqueters. However, the contemporary and political aspect emerges again in the 4th c. BC in the creations of a small group of dramatists, among whom Timocles, Mnesimachus and Heniochus stand out (significantly, most of them are concentrated in the time of the Macedonian expansion). Firstly Timocles, in whose fragments the personal mockery, the onomasti komodein, is still present and sharp, often against contemporary political leaders (cf. frr. 17, 19, 27 K.–A.). Then, Mnesimachus (Φίλιππος, frr. 7–10 K.–A.) and Heniochus (fr. 5 K.–A.), who show an anti- and a pro-Macedonian attitude, respec- tively. The present paper analyses the use of the political and contemporary element in Middle Comedy and the main differences between the poets named and Aristophanes, trying to sketch the evolution of the genre, the points of contact and the new tendencies. Key words: Middle Comedy, Politics, Onomasti komodein For many years, what is known as the “food fallacy”1 has been widespread among scholars of Comedy. -
The Hercules Story Pdf, Epub, Ebook
THE HERCULES STORY PDF, EPUB, EBOOK Martin W. Bowman | 128 pages | 01 Aug 2009 | The History Press Ltd | 9780752450810 | English | Stroud, United Kingdom The Hercules Story PDF Book More From the Los Angeles Times. The god Apollo. Then she tried to kill the baby by sending snakes into his crib. Hercules was incredibly strong, even as a baby! When the tasks were completed, Apollo said, Hercules would become immortal. Deianira had a magic balm which a centaur had given to her. July 23, Hercules was able to drive the fearful boar into snow where he captured the boar in a net and brought the boar to Eurystheus. Greek Nyx: The Goddess of the Night. Eurystheus ordered Hercules to bring him the wild boar from the mountain of Erymanthos. Like many Greek gods, Poseidon was worshiped under many names that give insight into his importance Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Athena observed Heracles shrewdness and bravery and thus became an ally for life. The name Herakles means "glorious gift of Hera" in Greek, and that got Hera angrier still. Feb 14, Alexandra Dantzer. History at Home. Hercules was born a demi-god. On Wednesday afternoon, Sorbo retweeted a photo of some of the people who swarmed the U. Hercules could barely hear her, her whisper was that soft, yet somehow, and just as the Oracle had predicted to herself, Hera's spies discovered what the Oracle had told him. As he grew and his strength increased, Hera was evermore furious. -
Social Welfare in the Greco-Roman World As a Background for Early Christian Practice
Acta Theologica 2016 Suppl 23: 1-28 DOI: http://dx.doi.org/10.4314/actat.v23i1S.1 ISSN 1015-8758 (Print) / ISSN 2309-9089 (Online) © UV/UFS P. Lampe SOCIAL WELFARE IN THE GRECO-ROMAN WORLD AS A BACKGROUND FOR EARLY CHRISTIAN PRACTICE ABSTRACT The essay investigates if and how Greco-Roman theorists attempted to motivate altruistic behaviour and devise a social-welfare ethics. In comparison, it studies actual social-welfare practices on both the private and the state level. Various social-welfare tasks are touched upon – health care; care for the elderly, widows, orphans and invalids; the patron-client system as countermeasure to unemployment; distribution of land, grain, meals and money; alms, donations, foundations as well as education – with hardly any one of them being especially tailored to the poor. The enormous role of civil society – private persons, their households and associations – in holding up social-welfare functions is shown. By contrast, the state was comparatively less involved, the commonwealth of the Romans, especially in Republican times, even less than the Greek city-states. The Greek poleis often invested income such as wealthy citizens’ donations in social welfare, thus brokering between wealthy private donors and less well-to-do persons. The church, living in private household structures during the first centuries, took over the social-welfare tasks of the Greco-Roman household and reviewed them in the light of Hebrew and Hellenistic-Jewish moral traditions. Prof. Peter Lampe, Professor of New Testament Studies, University of Heidelberg, Germany, and Honorary Professor of New Testament, Faculty of Theology, University of the Free State, Bloemfontein, South Africa. -
Narcissus the Hunter in the Mosaics of Antioch
Narcissus the Hunter in the Mosaics of Antioch Elizabeth M. Molacek Among the hundreds of mosaic pavements discovered at as the capital of the Hellenistic Seleucid kingdom in 300 BCE Antioch-on-the-Orontes, a total of five represent Narcissus, and remained a thriving city until the Romans took power in the beautiful youth doomed to fall in love with his own 64 BCE. Antioch became the capital of the Roman province reflection. The predominance of this subject is not entirely of Syria; however, it was captured by the Arabs in 637 CE, surprising since it is one of the most popular subjects in bringing an end to almost a thousand years of occupation.2 Roman visual culture. In his catalogue of the mosaics of While its political history is simple to trace from the Hellenis- ancient Antioch, Doro Levi suggests that Narcissus’ frequent tic founding to the Arab sacking, Antioch’s cultural identity appearance should be attributed to his watery reflection due is less transparent. The city was part of the Roman Empire to the fact that Antioch was a “town so proud of its wealth for over five hundred years, but the inhabitants of Antioch of waters, springs, and baths.”1 The youth’s association with did not immediately consider themselves Roman, identifying water may account for his repeated appearance, but the instead with their Hellenistic heritage. As was standard in the present assessment recognizes a Narcissus that is unique to Greek East, the spoken language remained Greek even after Antioch. In art of the Latin West from the first century BCE Rome established control, and many traditions and social onwards, Narcissus has a highly standardized iconography norms were deeply rooted in the Hellenistic culture.3 Antioch that emphasizes his youthful appearance, the act of seeing was a hybrid of both eastern and western influences due to his reflection, and his fate for eternity. -
Two Cases of the Golden Age: the Hesiodic Utopia and the Platonic Ideal State
TWO CASES OF THE GOLDEN AGE: THE HESIODIC UTOPIA AND THE PLATONIC IDEAL STATE A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÜNEŞ VEZİR IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE DEPARTMENT OF PHILOSOPHY SEPTEMBER 2019 Approval of the Graduate School of Social Sciences Assoc. Prof. Dr. Sadettin Kirazcı Director (Acting) I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts. Prof. Dr. Halil Turan Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts. Prof. Dr. Halil Turan Supervisor Examining Committee Members Assoc. Prof. Dr. Barış Parkan (METU, PHIL) Prof. Dr. Halil Turan (METU, PHIL) Assist. Prof. Dr. Refik Güremen (Mimar Sinan Fine Arts Uni., PHIL) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name: Güneş Vezir Signature : iii ABSTRACT TWO CASES OF THE GOLDEN AGE: THE HESIODIC UTOPIA AND THE PLATONIC IDEAL STATE Vezir, Güneş MA, Department of Philosophy Supervisor: Prof. Dr. Halil Turan September 2019, 119 pages This study was prepared to give information about the Golden Age myth, and in this regard, to illustrate for what purposes and in which ways the myth is used by Hesiod and Plato and the interaction and similarities between these thinkers. -
The Mythological Image of the Prince in the Comedia of the Spanish Golden Age
University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2014 STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE Whitaker R. Jordan University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jordan, Whitaker R., "STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE" (2014). Theses and Dissertations--Hispanic Studies. 15. https://uknowledge.uky.edu/hisp_etds/15 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Title: Midas, the Golden Age Trope, and Hellenistic Kingship in Ovid's
Title: Midas, the Golden Age trope, and Hellenistic Kingship in Ovid’s Metamorphoses Abstract: This article proposes a sustained politicized reading of the myth of Midas in Ovid’s Metamorphoses. It argues that Midas stands, first, as the embodiment of failed, Hellenistic kingship, with its ostentatious display of wealth and heralding of a new Golden Age, and, second, as a warning against the infectious “love of gold”, to which Roman politicians are far from immune. While the capture of Silenus and the golden touch episode link Midas with the tropes of Hellenistic kingship, his involvement in the competition between Pan and Apollo raises questions about the tropes of Roman imperial power itself. 0 Midas, the Golden Age trope, and Hellenistic Kingship in Ovid’s Metamorphoses It might be heaven, this static Plenitude: apples gold on the bough, Goldfinch, goldfish, golden tiger cat stock - Still in one gigantic tapestry – Sylvia Plath, In Midas' Country Ovid provides the fullest and most elaborate account of the myth of Midas that has come down to us from Classical Antiquity. His version conflates what must have been three different myths involving the legendary Phrygian king: first, his encounter with or capture of Silenus, second, the gift of the golden touch, which turned into a curse, and third, his acquisition of ass’s ears –– in Ovid’s version as a punishment by Apollo for his musical preferences. Throughout the narrative (11.85-193) Midas emerges as a figure of ridicule, a man unable to learn from his mistakes1. Despite the amount of criticism that has focused on the Metamorphoses, this episode has attracted remarkably little attention. -
The Successors: Alexander's Legacy
The Successors: Alexander’s Legacy November 20-22, 2015 Committee Background Guide The Successors: Alexander’s Legacy 1 Table of Contents Committee Director Welcome Letter ...........................................................................................2 Summons to the Babylon Council ................................................................................................3 The History of Macedon and Alexander ......................................................................................4 The Rise of Macedon and the Reign of Philip II ..........................................................................4 The Persian Empire ......................................................................................................................5 The Wars of Alexander ................................................................................................................5 Alexander’s Plans and Death .......................................................................................................7 Key Topics ......................................................................................................................................8 Succession of the Throne .............................................................................................................8 Partition of the Satrapies ............................................................................................................10 Continuity and Governance ........................................................................................................11 -
'Techné' and 'Paideia'
Acta Scientiarum http://www.uem.br/acta ISSN printed: 2178-5198 ISSN on-line: 2178-5201 Doi: 10.4025/actascieduc.v38i3.28713 The rapports between ‘techné’ and ‘paideia’ in the Roman Empire: reading the Antiochene mosaics Gilvan Ventura da Silva Departamento de História, Universidade Federal do Espírito Santo, Av. Fernando Ferrari, 514, 29075-910, Vitória, Espírito Santo, Brasil. E-mail: [email protected] ABSTRACT. Discussion on the Roman mosaic as techné or as ars, is provided, or rather, a decoration technique for interiors made at high specialization levels. When the main procedures adopted in mosaic art are established, we will show how a certain technique, a particular way in handling unsophisticated materials learnt by semi-illiterate people, lost throughout the ages, was used to express themes and motifs connected with paideia, the superior education of the Greco-Roman elite. As a case study, two mid-3rd century CE mosaics found in the so-called House of Menander, a villa located in the suburb of Daphne, in southern Antioch, will be investigated. Keywords: late antiquity, paideia, image. Artes do fazer e usos do saber no império romano: ‘lendo’ os mosaicos de Antioquia RESUMO. Neste artigo, pretendemos desenvolver algumas reflexões acerca do mosaico romano como techné ou ars, ou seja, como uma técnica de decoração de interiores que comportava um alto nível de especialização. Uma vez estabelecidos, em linhas gerais, os procedimentos empregados na confecção dos mosaicos, buscaremos, em seguida, demonstrar como determinada técnica, uma maneira particular de manipulação de materiais rústicos dominada por indivíduos semiletrados cuja memória praticamente se perdeu, é mobilizada com a finalidade de exprimir temas e motivos conectados com a paideia, a formação cultural superior concedida aos membros da elite greco-romana. -
Myth Made Fact Lesson 7: Perseus with Dr
Myth Made Fact Lesson 7: Perseus with Dr. Louis Markos Outline: The four greatest heroes of Greek mythology: Perseus Jason Theseus Hercules Setting Hesiod was a contemporary of Homer, late 8th century. Hesiod lived in Greece as a farmer. The four ages of man: o Golden Age: Live close to nature, close to the gods, and close to ourselves, a world before greed, before man cut open the earth for rare metals to kill each other o Silver Age: long youth that was happy, but they became violent and foolish and they were hidden under the earth o Bronze Age: men were warlike and fierce o Iron Age: this is the current age, far away from the Golden Age, we’ve lost a sense of shame and piety, we’ve lost our center and our balance o This concept is ubiquitous, that we are falling away. Hesiod adds a fifth age between the Bronze and Iron, and he calls it the age of heroes. There is almost a rebirth of the Golden Age with soldiers who fight for honor. This is when basically all of Greek mythology takes place (1500 BC – 1150 BC). o The Trojan War is the end of the Golden Age. o Every Greek tragedy takes place during that Golden Age, except a play about the Persian War, which is written as though the Persian war is taken place in a mythic Golden Age. Perseus Perseus is the son of Zeus. Acrisios heard a prophecy that Danae will give birth to a child who will kill him, so he locks Danae in a tower.