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Chapter 4. Hatred in Hesiod
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Kilgallon, Silvie Title: Hatred in Hesiod General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hatred in Hesiod Silvie Kilgallon A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts, January 2019. Word Count: 75,322. 2 Abstract: This thesis examines the conception and role of hatred in the Theogony and Works and Days of Hesiod. -
Helden Am Himmel – Helden Im Himmel
Tanja S. Scheer Helden am Himmel – Helden im Himmel Sphärenwechsel zu den Sternen im griechischen Mythos Abstract: The Catasterisms of Pseudo-Eratosthenes and the Astronomia, written by an author named Hyginus are the most important extant sources concerning ancient Greek star-myths. Analysing these texts this paper discusses questions about the reasons and circumstances that lead mythical heroes and heroines to changing the earthly sphere for the heavens in Greek myth. Which conse- quences did these changes inflict on the protagonists concerned? What did it mean to be put among the stars? The texts allowed their audience a wide range of possibilities “to think with”, including divine compassion, gratitude and eternal memory of great deeds as well as presenting warning examples for man- kind on earth. Since when these examples were told, is difficult to assess. The case of the Arkadian heroine Callisto shows how strata of mythical subjects (mythische Stoffe) changed over the centuries. The Homeric Odysseus was told of the ‘Bear’ as an important heavenly constellation, but it seems that it took some centuries before the heroine Callisto reached the sky and this bear finally got a personal name. Authors like Pseudo-Eratosthenes and Hyginus do not express the belief that such a changing of spheres included a happy afterlife or immortal feasting in the presence of the Olympic gods. Nevertheless their read- ers were at liberty to hope for it. 1 Einführung: Himmelsbilder Nachdem Galileo Galilei im Jahr 1610 die Jupitermonde entdeckt hatte, stellten sich die neuzeitlichen Gelehrten in eine lange Tradition – als Fortschreiber des griechischen Mythos. -
Manual of Mythology
^93 t.i CORNELL UNIVERSITY LIBRARY GIFT OF HENRY BEZIAT IN MEMORY OF ANDRE AND KATE BRADLEY BEZIAT 1944 Cornell University Library BL310 .M98 1893 and Rom No Manual of mythology. Greek « Cornell University S Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029075542 'f' liiiiiliilM^^ ^ M^ISTU^L MYTHOLOGY: GREEK AND ROMAN, NORSE, AND OLD GERMAN, HINDOO AND EGYPTIAN MYTHOLOGY. BY ALEXANDER S. MURRAY, DEPARTMENT OF GREEK AND ROMAN ANTIQUITIES, BRITISH MUSEUM- REPRINTED FROM THE SECOND REVISED LONDON EDITION. •WITH 45 PLATES ON TINTED PAPER, REPRESENTING MORE THAN 90 MYTHOLOGICAL SUBJECTS. NEW YORK: CHARLES SCRIBNER'S SONS, 1893. ; PUBLISHERS' NOTE. Murray's Manual of Mythology has been known to the American public thus far only through the English edition. As originally published, the work was deficient in its account of the Eastern and Northern Mythology; but with these imperfections it secured a sale in this country which proved that it more nearly supplied the want which had long been felt of a compact hand-book in this study than did any other similar work. The preface to the second English edition indicates the important additions to, and changes which have been made in, the original work. Chapters upon the North- ern and Eastern Mythology have been supplied ; the descrip- tions of many of the Greek deities have been re-written accounts of the most memorable works of art, in which each deity is or was represented, have been added ; and a number iii IV PUBLISHERS NOTE. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
The Dancing God and the Mind of Zeus in Nonnos' Dionysiaca
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Οὐδε γέρων Ἀστραῖος ἀναίνετο: The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca Doron Simcha Tauber Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Literature and Philology Commons, and the Indo-European Linguistics and Philology Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Tauber, Doron Simcha, "Οὐδε γέρων Ἀστραῖος ἀναίνετο: The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca" (2017). Senior Projects Spring 2017. 130. https://digitalcommons.bard.edu/senproj_s2017/130 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Οὐδε γέρων Ἀστραῖος ἀναίνετο The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca Senior Project submitted to The Division of Languages and Literature of Bard College by Doron Simcha Tauber Annandale-on-Hudson, New York May 2017 For James, my Hymenaios Acknowledgements: Bill Mullen has been the captain of my errant ship, always strong on the rudder to keep my course on line. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Saturn As the “Sun of Night” in Ancient Near Eastern Tradition ∗
Saturn as the “Sun of Night” in Ancient Near Eastern Tradition ∗ Marinus Anthony van der Sluijs – Seongnam (Korea) Peter James – London [This article tackles two issues in the “proto-astronomical” conception of the planet Saturn, first attested in Mesopotamia and followed by the Greeks and Hindus: the long-standing problem of Saturn’s baffling association with the Sun; and why Saturn was deemed to be “black”. After an extensive consideration of explanations offered from the 5th century to the 21st, as well as some new “thought experiments”, we suggest that Saturn’s connection with the Sun had its roots in the observations that Saturn’s course appears to be the steadiest one among the planets and that its synodic period – of all the planets – most closely resembles the length of the solar year. For the black colour attributed to Saturn we propose a solution which is partly lexical and partly observational (due to atmospheric effects). Finally, some thoughts are offered on the question why in Hellenistic times some considered the “mock sun” Phaethon of Greek myth to have been Saturn]. Keywords: Saturn, planets, Sun, planet colour. 1. INTRODUCTION Since the late 19th century scholars have been puzzled by a conspicuous peculiarity in the Babylonian nomenclature for the planet Saturn: a number of texts refer to Saturn as the “Sun” ( dutu/20 or Šamaš ), instead of its usual astronomical names Kayam ānu and mul UDU.IDIM. 1 This curious practice was in vogue during the period c. 750-612 BC 2 and is not known from earlier periods, with a single possible exception, discussed below. -
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. -
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House, -
The Poetics of Science: Intertextual and Metatextual Themes in Ovid's Depiction of Cosmic and Human Origins
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title The poetics of science: intertextual and metatextual themes in Ovid's depiction of cosmic and human origins Author(s) Kelly, Peter Publication Date 2016-09-09 Item record http://hdl.handle.net/10379/6075 Downloaded 2021-09-28T20:42:11Z Some rights reserved. For more information, please see the item record link above. The Poetics of Science Intertextual and Metatextual Themes in Ovid’s Depiction of Cosmic and Human Origins By Peter M. J. Kelly A Thesis Submitted to the National University of Ireland, Galway in the College of Arts, Social Sciences and Celtic Studies for the degree of Doctor of Philosophy in Classics September 2016 Supervisor: Prof. Michael Clarke ii Preface This work explores ancient views of cosmogony and the material structure of the universe in Ovid’s Metamorphoses. In particular it focuses on the way in which Ovid problematizes how we define myth and poetry versus science and philosophy. It examines how Ovid generates a parallel between the form and content of the text in order to depict a world where abstract scientific principles can become personified deities. This work will seek to reevaluate the impact of Greek Philosophy on Roman poetry through extending the series of intertexts which we may observe Ovid alluding to. Through following and analysing these sets of allusions this work will seek to gain an insight into Ovid’s depiction of the metatextual universe. iii iv For my Parents The scientist’s demand that nature shall be lawful is a demand for unity. -
The Robert Shaw Chorale and Orchestra ROBERT SHAW, Conductor
1958 Eightieth Season 1959 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Fifth Concert Thirteenth Annual Extra Series Complete Series 3259 The Robert Shaw Chorale and Orchestra ROBERT SHAW, Conductor SUNDAY AFTERNOON, MARCH IS, 1959, AT 2:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Suite from Acis and Galatea HANDEL Requiem Mass INTERMISSION Four Faces of Love : True Love, from Five Songs on Old Texts HINDEMITH Love Song, from Four Hungarian Folksongs . BARTOK The Lover's Wish, from Vier Stucke, Op. 27 SCHONBERG With Air Commanding, from The Rake's Progress STRAVINSKY Rhapsodie for Contralto Solo, Male Chorus, and Orchestra, Op. 53 . BRAHMS FLORENCE KOPLEFF, Contralto Suite from Les Brigands OFFENBACH The Steinway is the official piano of the University Musical Society A R S LON G A V I T A BREVIS PROGRAM NOTES Suite from Ads and Galatea GEORG FRIEDRICH HANDEL Acis, Tenor Galatea, Soprano Polypheme, Bass In this year commemorating the 200th anniversary of Handel's death, audiences will have the opportunity to become acquainted with many of his less-performed master pieces. One of these is certainly Acis and Galatea, composed in 1720 when Handel was at the height of his fame as an opera composer and manager in London. In music of great charm it tells the story of the goddess Galatea, whose great beauty causes the Cyclops, Polypheme, to fall madly in love with her. He catches sight of her one day sporting with her love Acis, a Naiad. Mad with rage, he hurls a rock at them, pinning the unfortunate Acis beneath. -
Notes Du Mont Royal ←
Notes du mont Royal www.notesdumontroyal.com 쐰 Cette œuvre est hébergée sur « No- tes du mont Royal » dans le cadre d’un exposé gratuit sur la littérature. SOURCE DES IMAGES Google Livres HEIOAOY HOIHMATA. HESIODI CARMINA. 1 h p )flî pesa, flËzQp (151;;4zngéàluç (in (l’él’là-(tlâ filifoéæ ("a (fL’xtô, (f I 14 r I n I l ,D - l g” f l C f5) Kayl! il); zy’fe’ôez» ("j .r’Ç’V-l’hây x4 f")7 7"”’(À’ r - (ou)a; hafj .1 tafia-L» ’ Ë ,Î ne- ,7 I .jc,[,1 zZrn’rmzîîy-zuegk, I- I ,. (A .cz f s îm mmsns. -IXCUDEbANT un": mm runes, vu "mon, 56. m: ’lîlow” a TA HÈIÛAÛY H5 9’478 HOIHMATA. ’1 HESIODI CARMIN A. AIIOAAQNIOY APPONAYTIKA. APOLLONII ARGONAUTICA. MOTZAIOY TA KAO’ HPO KM AEANAPON. MUSÆI CARMEN un BERONE n LEANDRO. KOAOYSOY APIIAI’H EIAENHX. (101111111 RAPIUS HELENÆ. KOINTOY TA MEO’ OMHPON. QUINTI POSTHoMERICA. TPYÔIOAOPOY MOZIZ IAIOY. TRYPHIODORI EXCIDIUM ILII. TZETZOI’ IIPOOMHPIKA, x. 7.1. ë TZETZÆ ANTEHOMERICA, etc. GRÆCE ET LATINE CUM INDICIBUS NOMINUM ET RERUM EDIDIT F. S. LEHBS. ASII, PISANDRI, PANYASIDIS, CHOERI LI, ANTIMACHl FRAGMENTA GUI COMMENTARIIS ALIORUI ET SUIS ANECIT FluDEBlCUS 061mm. PARISIIS, EDITORE AMBROSIO FlRMlN DIDOT, INSTITUT! un" rumen-z TYPOGBAPIIO, vu ncon, 56. q, M DCCC XLI. PRÆFATIO. IN hoc septem poelarum corpore Hesiodo Apollonium ac Mu- sæum subiunximus, ne reliquorum quatuor, qui de rebus Troicis sunt omnes, interrumpatur ordo. Critica, quam vacant, adhibita arte novas horum auctorum recensiones exhibendi fortasse ne fa- cultas quidem fuisset, oonsilium certe non erat.