Revisiting the Metamorphoses from Exile: Reception of Deucalion and Pyrrha’S Prayer
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Banished to the Black Sea: Ovid's Poetic
BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Christy N. Wise, M.A. Georgetown University Washington, D.C. October 16, 2014 BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 Christy N. Wise, M.A. Mentor: Charles A. McNelis, Ph.D. ABSTRACT After achieving an extraordinarily successful career as an elegiac poet in the midst of the power, glory and creativity of ancient Rome during the start of the Augustan era, Ovid was abruptly separated from the stimulating community in which he thrived, and banished to the outer edge of the Roman Empire. While living the last nine or ten years of his life in Tomis, on the eastern shore of the Black Sea, Ovid steadily continued to compose poetry, producing two books of poems and epistles, Tristia and Epistulae ex Ponto, and a 644-line curse poem, Ibis, all written in elegiac couplets. By necessity, Ovid’s writing from relegatio (relegation) served multiple roles beyond that of artistic creation and presentation. Although he continued to write elegiac poems as he had during his life in Rome, Ovid expanded the structure of those poems to portray his life as a relegatus and his estrangement from his beloved homeland, thereby redefining the elegiac genre. Additionally, and still within the elegiac structure, Ovid changed the content of his poetry in order to defend himself to Augustus and request assistance from friends in securing a reduced penalty or relocation closer to Rome. -
Learning Objective: to Find out What the Romans Believed and to Investigate the Gods and Goddesses of Ancient Rome
The Romans Learning Objective: To find out what the Romans believed and to investigate the gods and goddesses of ancient Rome. www.planbee.com NEXT Religion was a part of everyday life in ancient Rome. The Romans didn’t believe in just one god but had many different gods and goddesses. They believed that the gods controlled different aspects of their lives and that the gods were all around them. As the Roman empire expanded, new gods were adopted into Roman religion. Many of the Roman gods were also the same as the ancient Greek gods except with different names. BACK www.planbee.com NEXT The ancient Romans would go to the temple everyday to give offerings of meat and other gifts such as flowers to the gods. In the temples and in different places around the city there were also lots of statues of different gods and goddesses. Remains of a Roman temple Statute of Venus, a Roman goddess BACK www.planbee.com NEXT Jupiter Juno Minerva Juno was the wife of Jupiter is the supreme Minerva was the Jupiter. She was the Roman god. He was goddess of wisdom. protector of Rome the son of Saturn. She was also the and guarded over Jupiter is the god of goddess of poetry, the finances of the light and sky. His medicine and empire. Her Greek Greek name is Zeus. warriors. Her Greek name is Hera. name is Athena. BACK www.planbee.com NEXT Vesta Ceres Diana Vesta was the Ceres was the Diana was the goddess of the hearth. -
A Journey in Pictures Through Roman Religion
A Journey in Pictures through Roman Religion By Ursula Kampmann, © MoneyMuseum What is god? As far as the Romans are concerned we think we know that all too well from our unloved Latin lessons: Jupiter, Juno, Minerva, the Roman Triad as well as the usual gods of the ancient world, the same as the Greek gods in name and effect. In fact, however, the roots of Roman religion lie much earlier, much deeper, in dark, prehistoric times ... 1 von 20 www.sunflower.ch How is god experienced? – In the way nature works A bust of the goddess Flora (= flowering), behind it blossom. A denarius of the Roman mint master C. Clodius Vestalis, 41 BC Roman religion emerged from the magical world of the simple farmer, who was speechless when faced with the miracles of nature. Who gave the seemingly withered trees new blossom after the winter? Which power made the grain of corn in the earth grow up to produce new grain every year? Which god prevented the black rust and ensured that the weather was fine just in time for the harvest? Who guaranteed safe storage? And which power was responsible for making it possible to divide up the corn so that it sufficed until the following year? Each individual procedure in a farmer's life was broken down into many small constituent parts whose success was influenced by a divine power. This divine power had to be invoked by a magic ritual in order to grant its help for the action. Thus as late as the imperial period, i.e. -
Graham Jones
Ni{ i Vizantija XIV 629 Graham Jones SEEDS OF SANCTITY: CONSTANTINE’S CITY AND CIVIC HONOURING OF HIS MOTHER HELENA Of cities and citizens in the Byzantine world, Constantinople and its people stand preeminent. A recent remark that the latter ‘strove in everything to be worthy of the Mother of God, to Whom the city was dedicated by St Constantine the Great in 330’ follows a deeply embedded pious narrative in which state and church intertwine in the city’s foundation as well as its subse- quent fortunes. Sadly, it perpetuates a flawed reading of the emperor’s place in the political and religious landscape. For a more nuanced and considered view we have only to turn to Vasiliki Limberis’ masterly account of politico-religious civic transformation from the reign of Constantine to that of Justinian. In the concluding passage of Divine Heiress: The Virgin Mary and the Creation of Christianity, Limberis reaffirms that ‘Constantinople had no strong sectarian Christian tradition. Christianity was new to the city, and it was introduced at the behest of the emperor.’ Not only did the civic ceremonies of the imperial cult remain ‘an integral part of life in the city, breaking up the monotony of everyday existence’. Hecate, Athena, Demeter and Persephone, and Isis had also enjoyed strong presences in the city, some of their duties and functions merging into those of two protector deities, Tyche Constantinopolis, tutelary guardian of the city and its fortune, and Rhea, Mother of the Gods. These two continued to be ‘deeply ingrained in the religious cultural fabric of Byzantium.. -
Jupiter and the Bee
Jupiter and the Bee At the beginning of time, the honeybee had no stinger. This left the bee with no way to protect her honey. The bee worked very hard to make her honey. But people were always taking it from her. This made the bee mad. The bee needed help. She needed a way to protect her honey. The bee decided to ask the gods for help. She took some of her best honey. Then she flew to Mount Olympus. That is where the gods lived. The bee went to see Jupiter. Jupiter was king of the gods. She brought him the honey as a gift. © 2018 Reading Is Fundamental • Content and art created by Simone Ribke Jupiter and the Bee Jupiter loved the honey. He had never tasted something so sweet. Jupiter said it was a great gift. In return, Jupiter promised to give the bee a gift. He asked her what she wanted. The bee asked Jupiter to give her a stinger. She would use it to keep people away from her honey. She would sting people who tried to take honey from her. Jupiter did not like this idea because he loved people. He did not want them to get stung. But he had made her a promise. Jupiter gave the bee a stinger, but using it came at a price. If she uses her stinger, she will die. The bee would have to choose. Will she protect her honey and die? Or will she let people take her honey and live? Jupiter gave stingers to all bees. -
Renaissance Receptions of Ovid's Tristia Dissertation
RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological. -
Marble Sculptures from the Imperial Palace in Sirmium
UDC 904:73"652"(497.113) DOI: 10.2298/STA0656153P 153 IVANA POPOVI] Institute of Archaeology, Belgrade MARBLE SCULPTURES FROM THE IMPERIAL PALACE IN SIRMIUM Abstract. – Few fragments of marble sculpture have been found in the course of the archaeological excavations conducted in Sirmium between 2003 and 2005 at site 85 which is believed to be part of the imperial palace complex. The most important are two almost completely preserved heads of deities. The head of a young person made of milky white, fine-grained marble of exceptionally fine texture from Pentelicon was found under the Late Roman floor in room 7 of the residential structure. The sculpture, of exceptional quality, is from the second half of the 1st century and represents a deity, most probably Venus or Apollo. Another head made of Carrara marble, from the 4th century, was found in a secondary position and on the basis of its mural crown is identified as the Tyche of Sirmium. Key words. – Roman sculpture, marble, Sirmium, deities, personifications. ew fragments of marble sculptures have been smooth surface of the face. It is parted in the middle, discovered in the course of systematic archae- framing the face in gentle waves modeled in relief and F ological excavations conducted in Sirmium with locks emphasized by incisions. On the back of the from 2003 to 2005 at site 85 which is almost certainly head the side locks combed over the ears are gathered the imperial palace complex1 (Fig. 1). The most im- portant are certainly two almost completely preserved heads of deities. * The author presented a brief account of these finds at the The head of a young person (C 109/2003) made of International Meeting Les ateliers de sculpture réginoaux: techni- milky white, fine-grained marble of exceptionally fine ques, styles et iconographie, Xe Colloque international sur l’art texture and originating from Pentelicon2 was discove- provincial romain, Arles et Aix-en-Provence, 21–23 mai 2007. -
James-P-Holoka CV-11 Classical
,e 52 January 1976 THE CLASSICAL BULLETIN 41 the he retained the affection of an. older man for a universal principle of order and harmony, in con formity to which the whole world is ruled in fair fully generation, and repaid it in many ways-not ness and justice (imperio aequo), the physical the least .of which was the preservation of the world and the political world, the sphere of the ~ living and the sphere of the dead •..• 2 t>,_ -'1 memory of a fine character for the edification dght of posterity. Fraenkel goes on to explain that the autobio• William C. McDermott graphical half of 3.4 is demanded by the ab sence of a tradition of solemn musical perform •nvert University of Pennsylvania ·,rliest Philip T. Heesffi ance "deeply rooted in the very life, religious c and Millersville State College and civic, of the· society." Unlike Pindar, Hor at the ace "is alone, left to his experience as an indi ng so, NOTES ;, my vidual and to his personal inspiration." 1 ·arned 1 E.g. Manius Curius, -negotiator in Patrae, for !d, as whose career c/. W. C. McDermott CW 41 (1948) 179- Though the Pindaric ode incontestably had a Philo, ,. 84. 2 Cf. von Arnim in RE s.v. "Diodotos 11" (1903); nutritive in•ftuence on the poet of Descende ·ctors. I. Coppa "De Diodoto Stoica Cicero-nis ma.gistro," Cicero: comm. ausp. coll. studiis .Cic. pro11ehendia editi caelo, critics have overindulged in Quellenfor ·laim, 1 (Rome 1959) 21-29; P. T. Heesen, Cicero's Literary Career to 50 B.C. -
Ovid's Wife in the Tristia and Epistulae Ex Ponto
OVID’S WIFE IN THE TRISTIA AND EPISTULAE EX PONTO: TRANSFORMING EROTIC ELEGY INTO CONJUGAL ELEGY by AMY NOHR PETERSEN (Under the Direction of T. KEITH DIX) ABSTRACT Augustus exiled Ovid to Tomis in AD 8 in part, the poet says, because of his carmen, the Ars Amatoria. Ovid presents the misfortunes of exile in two collections of elegiac epistles, the Tristia and Epistulae ex Ponto. As the recipient of nine epistles, Ovid’s wife is his most frequent addressee. Other poems throughout the two works also mention her. Ovid models the persona of his wife in the exile poetry on characters he developed in the Amores, Heroides, and Ars Amatoria. She appears initially as an abandoned heroine, then as a beloved from whom Ovid seeks fulfillment of his needs, and eventually becomes a pupil in imperial courtship. The resulting “conjugal love elegy” does not replace his earlier erotic elegy but recasts it as a means for Ovid to lament his misfortunes, present a new image for his poet-narrator, and immortalize his genius. INDEX WORDS: Augustus, Coniunx, Elegy, Epistolary Poetry, Epistulae, Exile, Latin, Livia, Ovid, Ovid’s wife, Tristia OVID’S WIFE IN THE TRISTIA AND EPISTULAE EX PONTO: TRANSFORMING EROTIC ELEGY INTO CONJUGAL ELEGY by AMY NOHR PETERSEN B.A., The University of Minnesota, 1996 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Amy Nohr Petersen All Rights Reserved OVID’S WIFE IN THE TRISTIA AND EPISTULAE EX PONTO: TRANSFORMING EROTIC ELEGY INTO CONJUGAL ELEGY by AMY NOHR PETERSEN Major Professor: T. -
JANUS on JUICE: a Camera to Investigate Ganymede, Europa, Callisto and the Jovian System
JANUS on JUICE: A Camera to Investigate Ganymede, Europa, Callisto and the Jovian System. N. Schmitz1, P. Palumbo9, R. Jaumann1, V. Della Corte2, M. Zusi3, J. M. Castro4, M. Leese5, S. Debei6, D. Magrin7, H. Michalik8, G. Cremonese7, H. Hoffmann1, A. Holland5, L. M. Lara4, B. Fiethe8, E. Friso6, D. Greggio7, M. Her- ranz4, A. Koncz1, A. Lichopoj1, I. Martinez-Navajas4, E. Mazzotta Epifani3, H. Michaelis1, T. Behnke1, R. Rag- azzoni7, T. Roatsch1, J. Rodrigo4, E. Rodriguez4, P. Schipani3, M. Soman5, M. Zaccariotto6, & the JANUS team. 1 DLR-Institute for Planetary Research, Berlin, Germany; 2 INAF-IAPS, Rome, Italy; 3 INAF-OAC, Naples, Italy; 4 IAA-CSIC, Granada, Spain; 5 CEI-Open University, Milton Keynes, UK; 6 CISAS, University of Padova, Pado- va, Italy, 7 INAF-OAPd, Padova Italy; 8 IDA, Technical University of Braunschweig, Germany; 9 DIST, Partheno- pe University, Napoli, Italy. Introduction: The detailed investigation of three of response of ices and ice/salt/clathrate mixtures w.r.t. Jupiter‘s Galilean satellites (Ganymede, Europa, and tectonic stress? To what extent are surfaces altered by Callisto), which are believed to harbour subsurface cosmic weathering and what are the major exogenic water oceans, is central to elucidating the conditions surface alteration processes (micrometeorites, radia- for habitability of icy worlds in planetary systems. The tion, charged particles)? What are the fine-scale char- study of the Jupiter system and the possible existence acteristics of non-ice materials on Callisto? By which of habitable environments offer the best opportunity intriguing mechanisms is CO2-replenishment taking for understanding the origins and formation of the gas place on Callisto? giants and their satellite systems. -
JANUS - Camera System – an Optical Camera to Study Global, Regional and Local Morphology and Processes on the Moons, and to Perform Mapping of the Clouds on Jupiter
Centre for Electronic Imaging A CMOS Active Pixel Sensor for high resolution imaging of the Jovian system Matthew Soman, Andrew D. Holland, Konstantin D. Stefanov, Jason P. Gow, Mark Leese Centre for Electronic Imaging, The Open University, MK7 6AA, UK Jérôme Pratlong, Peter Turner e2v technologies plc., 106 Waterhouse Lane, Chelmsford, Essex, CM1 2QU, UK Matthew Soman, PSD10, 10 September 2014 CentreJovian systemfor Electronic Imaging 67 known natural satellites 4 largest are ‘Galilean’ moons: Europa, Ganymede, Callisto and Io Io Harsh radiation environment Gammas Europa Protons Heavy ions Ganymede Electrons UV aurora. Image credit: NASA Matthew Soman, PSD10, 10 September 2014 CentreJupiter forIcy ElectronicMoon Explorer Imaging • 1900 kg dry mass • 2900 kg of chemical propellant • Launch 2022 • 8 year cruise phase • 3 years of observations in the Jovian system (2030 to 2033) Jupiter Ganymede Europa Callisto Jovian rings, Io and other satellites O. Grasset et al. “JUpiter ICy moons Explorer (JUICE): An ESA mission to orbit Ganymede and to characterise the Jupiter system,” (2013) Planetary and Space Science, 78, 1-21. Image credit: ESA Matthew Soman, PSD10, 10 September 2014 CentreJUICE instruments for Electronic Imaging 11 Instruments with a total mass of around~104 kg – JUICE dry mass ~1900 kg – Propellant mass ~2900 kg • MAJIS - Moons and Jupiter Imaging Spectrometer • UVS - UV imaging Spectrograph • SWI - Sub-millimeter Wave Instrument • GALA - GAnymede Laser Altimeter • RIME - Radar for Icy Moons Exploration Image credit: ESA • J-MAG - A magnetometer for JUICE • PEP - Particle Environment Package • RPWI - Radio & Plasma Wave Investigation • 3GM - Gravity & Geophysics of Jupiter and Galilean Moons • PRIDE - Planetary Radio Interferometer & Doppler Experiment • JANUS - Camera system – An optical camera to study global, regional and local morphology and processes on the moons, and to perform mapping of the clouds on Jupiter. -
3274 Myths and Legends of Ancient Rome
MYTHS AND LEGENDS OF ANCIENT ROME CFE 3274V OPEN CAPTIONED UNITED LEARNING INC. 1996 Grade Levels: 6-10 20 minutes 1 Instructional Graphic Enclosed DESCRIPTION Explores the legend of Romulus and Remus, twin boys who founded Rome on seven hills. Briefly relates how Perseus, son of Jupiter, used his shield as a mirror to safely slay Medusa, a monster who turned anyone who looked on her to stone. Recounts the story of Psyche and Cupid, a story of broken promises and forgiveness. Each legend ends with discussion questions. Animated. INSTRUCTIONAL GOALS · To depict three Roman myths. · To enhance a unit on Roman mythology. · To show how the Romans explained natural phenomena and human behavior. · To show that human nature remains the same throughout the ages. BEFORE SHOWING 1. Read the CAPTION SCRIPT to determine unfamiliar vocabulary and language concepts. 2. Discuss the concept of myths: a. As a way of explaining and rationalizing natural phenomena. b. As stories of the heroic deeds and adventures of mortals with semidivine parentage. c. As stories of a large family of quarrelsome gods and goddesses. 3. Explain that the video shows three different Roman myths. a. Using a time line, explain that Roman mythology appeared after Greek mythology. b. Display a list of gods and goddesses and their Roman and Greek names. c. Explain there are many variations of the same myths. 4. Display a family tree of the Roman gods and goddesses. 1 a. Include pictures of monsters such as Medusa and Cerberus. b. Refer to the tree as characters appear in the video.