DOCSLIB.ORG

Who-Let-The-Gods-Out-Chapter-By-Chapter-Resources.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Who-Let-The-Gods-Out-Chapter-By-Chapter-Resources.Pdf WHO LET THE GODS OUT? Maz Evans CHAPTER-BY-CHAPTER RESOURCES CREATED BY: Ashley Booth @MrBoothY6 www.maz.world @maryaliceevans chickenhousebooks.com Chapter Comprehension Writing Cross Curricular Questions Opportunities Opportunities 1 • What does the author mean when referring to the body odour Write a conversation ART • Draw what you think as ‘weapons grade’? between a naughty pupil Elliot, Call Me Graham and • What does ‘jubilantly’ mean? Can you do an impression of and a headteacher in the Mr Boil look like. ‘lumbering jubilantly’? style of Elliot and Mr Boil. • Is Elliot often in trouble? How do you know? Use shifts in formality to DRAMA • Use drama to act • Why do you think Mr Boil has no respect for Call Me Graham? make it effective. out the scene in Call Me • Is Elliot a good student? How do you know? Graham’s office. • Where does Elliot go to school? • How old is Elliot? 2 • What does the text mean when it says the farm had been the Write the next part of the ART • Create your own family home for ‘generations’? story, predicting where Mum horrible neighbour in the • What words show that Elliot doesn’t want to speak to Patricia has gone. style of Patricia Porshley- Porshley-Plum? Plum. • Why might Elliot like the walk home so much? • Why does Elliot lie about his mum being ill? • Why does Elliot get so panicked? • Predict where Mum has gone. • What impression do you get of Patricia in this chapter? www.maz.world @maryaliceevans CREATED BY: Ashley Booth @MrBoothY6 chickenhousebooks.com Chapter Comprehension Writing Cross Curricular Questions Opportunities Opportunities 3 • Explain what a zodiac is. From this, what is the ‘Zodiac Write an advertisement for HISTORY• Research and make Council’? a job opening in the Zodiac a fact file about the signs of the • Find words that show that Elysium is a paradise. Council. zodiac. Each group could take • Why might Cyclops be entitled to half-price eye care? a different one. • Why doesn’t the Zodiac Council want to bestow more serious Write a balanced argument responsibilities upon Virgo? about whether you think GEOGRAPHY• Research Stone- • How do you know people don’t want to do the Prisoner Forty- Zodiac should have left or henge, and create a leaflet Two task? not. about the area and its history. • Why does Virgo almost immediately regret her decision to leave? • What stone circle might Virgo be looking for? • What are Virgo’s responsibilities? • What is involved in the Prisoner Forty-Two task? 4 • What does the phrase ‘Mum’s the word’ mean? Write the Really Scary Letter. PHILOSOPHY• Create a mood • Why is the chapter called this? graph for Elliot in this chapter. • What does ‘discern’ mean? • Why does Maz put inverted commas around ‘“borrow” money’? MUSIC• Use musical instru- • Why was Elliot so worried? ments to soundtrack the end • Why is Elliot unsure about whether he’ll ever know about his of the chapter as one of your father? group reads it. www.maz.world @maryaliceevans CREATED BY: Ashley Booth @MrBoothY6 chickenhousebooks.com Chapter Comprehension Writing Cross Curricular Questions Opportunities Opportunities • Why are there lots of IOUs in the money jar? 4 • Why do you think Elliot doesn’t study? • What is the Really Scary Letter? • Why can Elliot see the stars so well? • Explain what will happen if Elliot doesn’t pay his debts. • What words show the cow isn’t pleased about Virgo’s 5 presence? Write a diary entry as Elliot, SCIENCE• Create your own • Identify words from Virgo’s vocabulary that might seem strange detailing the events of this mini cowshed. Take a rock to a 12-year-old boy. Identify the meaning of these words. chapter. that will represent Virgo, • What had Virgo landed in? then drop it on to the shed from a height. Use various • Why does Virgo get annoyed at the cow? • How does Elliot realize someone is in the shed? materials to reinforce your • Why does Elliot find it so difficult to communicate with Virgo? shed. Reach a conclusion • Why did Virgo’s clothes nearly make Elliot puke? about the best materials for • Why does Elliot start thinking about how much money he could reinforcement. Think about get for the flask? how to make it a fair test. • Explain how ‘What’s What?’ works. Are there human equivalents? www.maz.world @maryaliceevans CREATED BY: Ashley Booth @MrBoothY6 chickenhousebooks.com Chapter Comprehension Writing Cross Curricular Questions Opportunities Opportunities 6 • Find vocabulary that shows Elliot is tired. How do we know he’s Imagine you were an SCIENCE• Research and create always tired from earlier in the story? Why is this? onlooker who secretly saw a fact file on how long different • How does Elliot feel when Virgo has been under water for a how long Virgo was under mammals can survive under long time? Find vocabulary that backs your answer up. water. Write a letter to a water: humans, dolphins, bea- • What does Virgo think the TV is? newspaper, telling them vers, sloths and seals. • Why doesn’t Elliot want his mum to let anyone in? what you saw. • Why is Elliot going to take Virgo to the police station? • Does Elliot think Prisoner Forty-Two’s imprisonment is fair? • Why can’t Virgo transform into her constellation to prove her immortality to Elliot? • Name the five categories of immortal. What happens if they lose their Kardia? • Look at the description of the prisoner and discuss these words Rewrite the scene where ART• Draw Thanatos before 7 – ‘remnants’, ‘emaciated’, ‘huddled’, ‘pitiful’ and ‘skeletal’. Thanatos is initially freed, and after the change, using the • When Elliot touches Prisoner Forty-Two, what vocabulary from the perspective of descriptions in the chapter. shows that was the wrong decision? Thanatos. • Is Virgo panicking? How do you know? HISTORY• Research and make • Does Elliot feel sorry for the prisoner? How do you know? a fact file/poster/presentation • How does Prisoner Forty-Two trick Elliot? about Thanatos. www.maz.world @maryaliceevans CREATED BY: Ashley Booth @MrBoothY6 chickenhousebooks.com Chapter Comprehension Writing Cross Curricular Questions Opportunities Opportunities • What does Thanatos mean when he says he’s going to ‘really enjoy not killing her’? • What does Virgo do initially when Prisoner Forty-Two starts to transform? • Who is Prisoner Forty-Two? • How does Elliot convince Thanatos to free Virgo? • What impression do you get of Thanatos from this chapter? • What vocabulary shows Patricia is spoilt? Write a character MUSIC• Write a poem or a song 8 • What does Patricia mean by ‘I hope you kept the receipt’? description for Patricia, about Patricia Porshley-Plum and • Why does Patricia dislike Elliot? making her sound as putrid soundtrack it with some instru- • Why does Patricia take a cake? as you possibly can. ments. • Why does Josie look so dreadful? • How does Patricia figure out that Josie is unwell? 9 • What words show Aries is angry? Write a report from the DRAMA• Use drama to act out the • Find vocabulary that shows that the Council doesn’t respect Zodiac Council about why Zodiac Council meeting. Make it Virgo very much. they have taken Virgo’s as dramatic as you can. • Does Elliot enjoy flying? How do you know? powers. • What is the council’s reaction to hearing that Prisoner Forty- Two is Thanatos? www.maz.world @maryaliceevans CREATED BY: Ashley Booth @MrBoothY6 chickenhousebooks.com Chapter Comprehension Writing Cross Curricular Questions Opportunities Opportunities • How does Virgo learn more about Thanatos? • Why is the Council so cross with Virgo? • What does the Council believe is the only thing left of Thanatos? • What will happen to Virgo if she uses her powers again? 10 • Why is the chapter called ‘Plain Sailing’? Write a review of Quick Styx HISTORY• Research and make • Why do they need to take public transport? Cabs. a fact file about Charon. • What do you think is Elliot’s initial impression of the boat? Why? • Why does Elliot start to get worried about the time? ART• Create your own other- • Why does Elliot want the Earth Stone? worldly public transport, brand • Who do Virgo and Elliot decide they need to recruit the help of? it and come up with a slogan Why? and business card. • Explain the difference between Elysium public transport and Earth public transport. HISTORY• Make a poster about • Why are all the Chaos Stones the wrong colour? the River Styx. Do some re- search to supplement it. www.maz.world @maryaliceevans CREATED BY: Ashley Booth @MrBoothY6 chickenhousebooks.com Chapter Comprehension Writing Cross Curricular Questions Opportunities Opportunities Write a review from Tantalus 11 • What vocabulary makes Tartarus look daunting and scary? DRAMA• Come up with voices about his shopping. • Is Thanatos pleased at the housing being built? How do you for these characters: Sisyphus, know? Write a diary entry from Tantalus, Charon and Thanatos. • How does Tantalus feel when his shopping arrives? Sisyphus after the events of Record bits of speech using • How does he feel when he opens it? this chapter. your character voices. • Why does Charon think Tantalus wouldn’t have minded toilet paper? HISTORY• Research Hypnos • Why does Thanatos make Sisyphus drop the boulder? and use this research to predict • Why does Thanatos doubt that Hypnos will be pleased to see what is coming in the story. him? Write a newspaper report in 12 • What is a ‘nebulous gloom’? ART• Design a menu for Café the style of the Daily Argus • What are ‘Café Hero’ and ‘iGod’ a pun of? Can you make some Hero. Come up with some pun- more shop name puns based on Gods and heavens etc.? about one of the past events based products for the menu.
Load more

Recommended publications
  • Studies in Early Mediterranean Poetics and Cosmology
    The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too.
    [Show full text]
  • The Eros-Thanatos Conflict in DH Lawrence's Women in Love
    J. Appl. Environ. Biol. Sci. , 5(8S )555 -560 , 2015 ISSN: 2090-4274 Journal of Applied Environmental © 2015, TextRoad Publication and Biological Sciences www.textroad.com The Eros-Thanatos Conflict in D.H. Lawrence’s Women in Love : A Psychoanalytic Study Rahim Noori Khaneghah Ph.D.in English Literature, Department of English, University of Maragheh, Iran. Received: March 8, 2015 Accepted: May 10, 2015 ABSTRACT The present essay is interdisciplinary in nature and touches two-subject areas: literature and psychoanalysis. In Women in Love , Ursula-Birkin relationship is regarded as representation of life drive (Eros) and Gudrun-Gerald relationship as a finest example of the victory of the death drive (Thanatos) over the life drive (Eros). The death and live drives are present in every living creature, but these two opposite drivesshould be in normal mixture. Some traumatic situations and repressed wishes cause the imbalance of this regular mixture of life and death drives and make one drive more possessive than the other drive. Eros-Thanatos struggle is an inner one and the victory of one drive over the other may cause the death of the individual. The essay makes an attempt to bring to light the struggles of the four major characters of the novel (Ursula, Birkin, Gerald and Gudrun) between Eros and Thanatos with the help of Freudian and Lacanian psychoanalytic perspectives. KEYWORDS: Struggle, Death drive, Life drive, Possessiveness, Regular mixture 1. INTRODUCTION Women in Love is regarded as the finest novel of D. H. Lawrence which was published in the USA in 1920. This novel is in fact the story of two Brangwen sisters, Ursula and Gudrun, and their love experience with Birkin and Gerald respectively.
    [Show full text]
  • Greek Mythology #23: DIONYSUS by Joy Journeay
    Western Regional Button Association is pleased to share our educational articles with the button collecting community. This article appeared in the August 2017 WRBA Territorial News. Enjoy! WRBA gladly offers our articles for reprint, as long as credit is given to WRBA as the source, and the author. Please join WRBA! Go to www.WRBA.us Greek Mythology #23: DIONYSUS by Joy Journeay God of: Grape Harvest, Winemaking, Wine, Ritual Madness, Religious Ecstasy, Fertility and Theatre Home: MOUNT OLYMPUS Symbols: Thyrus, grapevine, leopard skin Parents: Zeus and Semele Consorts: Adriane Siblings: Ares, Athena, Apollo, Artemis, Aphrodite, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces Roman Counterpart: Bacchus, Liber Dionysus’ mother was mortal Semele, daughter of a king of Thebes, and his father was Zeus, king of the gods. Dionysus was the only Olympian god to have a mortal parent. He was the god of fertility, wine and the arts. His nature reflected the duality of wine: he gave joy and divine ecstasy, or brutal and blinding rage. He and his followers could not be contained by bonds. One would imagine that being the god of “good times” could be a pretty easy and happy existence. Unfortunately, this just doesn’t happen in the world of Greek mythology. Dionysus is called “twice born.” His mother, Semele, was seduced by a Greek god, but Semele did not know which god was her lover. Fully aware of her husband’s infidelity, the jealous Hera went to Semele in disguise and convinced her to see her god lover in his true form.
    [Show full text]
  • Fate and Death Through a Daimonic Lens
    FATE AND DEATH THROUGH A DAIMONIC LENS FATE AND DEATH THROUGH A DAIMONIC LENS By JASON SOLOMON BINDER, B.A.Sc., B.A. Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Jason Solomon Binder, September 2014 MA Thesis – J. Binder; McMaster University – Classics. McMaster University MASTER OF ARTS (2014) Hamilton, Ontario (Classics) TITLE: Fate and Death through a Daimonic Lens AUTHOR: Jason Solomon Binder, B.A.Sc., B.A. (McMaster University) SUPERVISOR: Dr. Sean Corner NUMBER OF PAGES: vi, 101 ii MA Thesis – J. Binder; McMaster University – Classics. Abstract This thesis is concerned with the ancient Greek conceptualization of fate and death, as explored through the figure of the daimon in literature from Homer and Hesiod to Plato and Euripides. Filling a gap in scholarship, I elucidate the spectrum of meaning inherent in the word daimon, and how it shifts over time. From the Archaic to the Classical period the word daimon is found as a synonym for theos, “god”, as a vocative address, or in reference to “fate” and the generalized “will of heaven.” At the same time, a particular group of divine personifications, including Thanatos, Moira, Ker, and Erinys are counted as daimones. We also find the term used to designate unnamed but individuated lesser divinities, guardian spirits, and demonic possessors, and even as the divine aspect of the self. In the early Archaic poets these latter categories are only nascent. The individuated daimon becomes the focus of the lyric poets and pre-Socratic philosophers; in the later pre-Socratics the daimon begins to be internalized, moving from possessive spirit to psychic force.
    [Show full text]
  • H2O and the Waters of Forgetfulness PDF Book
    H2O AND THE WATERS OF FORGETFULNESS PDF, EPUB, EBOOK Ivan Illich | 112 pages | 01 Mar 2001 | Marion Boyars Publishers Ltd | 9780714528540 | English | London, United Kingdom H2O and the Waters of Forgetfulness PDF Book Though he drank from the river and was reincarnated as Euphorbus, Hermotius, Pyrrhus and then Pythagoras, he was still able to remember his previous lives and the knowledge he had gained in those incarnations. Goodreads helps you keep track of books you want to read. The first four lines of the poem are:. Not to be confused with Leath or Water of Leith. This critique applies equally to both the so-called developed and the developing nations but in different ways. Sign in. During the s he founded centers for cross-cultural communication, first in Puerto Rico and then in Cuernavaca, Mexico. This legend persisted until BC. Geller - November 7, 0. Achilles island Delos. Follow us. He studied theology, philosophy, history, and natural science. This act proved that the Lima was not as dangerous as the local myths described. Virgil's Aeneid. The French poet Charles Baudelaire referred to the river in his poem "Spleen". Dante, held in the arms of Matilda, is immersed in the Lethe so that he may wipe out all memory of sin Purg. Readers also enjoyed. Lethe was also the name of the personification of forgetfulness and oblivion, with whom the river was often associated. I love the title and the idea and the writer, but was a little disappointed with the actual book. The souls that throng the flood Are those to whom, by fate, are other bodies ow'd: In Lethe's lake they long oblivion taste, Of future life secure, forgetful of the past.
    [Show full text]
  • Greco-Roman Gods and Goddesses
    GRECO -ROMAN GODS AND GODDESSES THE OLYMPIANS : THE “T WELVE ” Of the many major and minor gods in the Olympian dynasty the most important are the Twelve, a group chosen by the Greeks themselves as the key figures in the Olympian group and the basis for most of their religious observances. Greek law is also to some extent derived from the concept of the Twelve, and Greeks in both court proceedings and in ordinary conversation took their oath “by the Twelve.” The divinities constituting this group were: Zeus (Jupiter, Jove) Leader of the Olympians, god of lightening, and representative of the power principle. Hera (Juno) Wife of Zeus and goddess of marriage and domestic stability. Poseidon (Neptune) God of the sea. Often called “the earth shaker,” possibly because the Greeks attributed earthquakes to marine origin. Hades (Pluto, Dis) God of the Underworld and presider over the realm of the dead. Also connected with the nature myth by his marriage to Persephone (Proserpine), who spent half of her time on earth (the growing season) and half in the underworld (the winter period). Hades does not represent death itself, that function being relegated to a lesser divinity Thanatos. Pallas Athena, Athena (Minerva) Goddess of wisdom, but also associated with many other concepts from warfare to arts and crafts. Her birth was remarkable, since she sprang fully-armed from the forehead of Zeus. She was the patron goddess of Athens and to the Athenians represented the art of civilized living. Phoebus Apollo Son of Zeus and Leto, daughter of the Titans Krios and Phoebe.
    [Show full text]
  • Confounding Lethe in the Moyola: Heaney, Virgil and the Cultural Unconscious
    DOI: http://dx.doi.org/10.5007/2175-8026.2021.e78994 CONFOUNDING LETHE IN THE MOYOLA: HEANEY, VIRGIL AND THE CULTURAL UNCONSCIOUS Eugene O’Brien1* 1University of Limerick, Sreelane, Limerick, Ireland Abstract This essay discusses Seamus Heaney’s ‘Route 110’, fromHuman Chain, as an example of life writing as embodied in the very specific genre of poetry. His use of Virgil’s Aeneid Book VI as a type of cultural unconscious is examined, and each of the works are viewed as tesserae, which are brought together as a type of mosaic through translation and a dual perspective. Heaney has described this poetic sequence as an attempt to translate parts of Book VI of the Aeneid. ‘Route 110’ is also read in the light of Heaney’s book-length posthumous translation of Aeneid Book VI, and all three texts cohere and combine to form the mosaic of significant aspects of his life, as seen from an older perspective. The sequence is read in terms of the connection between the two books as an attempt to explore aspects of Eros and Thanatos in his own writing Key Words: Seamus Heaney; ‘Route 110’; Aeneid Book VI; tessera; mosaic; unconscious; memory; translation * Senior lecturer, and Head of the Department of English Language and Literature in Mary Immaculate College, University of Limerick, Ireland, and is also the director of the Mary Immaculate Institute for Irish Studies. He is the editor for the Oxford University Press Online Bibliography project in literary theory, and of the Routledge Studies in Irish Literature series. His more recent books include Seamus Heaney as Aesthetic Thinker (Syracuse University Press); The Soul Exceeds its Circumstances: The Later Poetry of Seamus Heaney(Notre Dame University Press); Recalling the Celtic Tiger, with Eamon Maher and Brian Lucy (Peter Lang) and Representations of Loss in Irish Literature, with Deirdre Flynn (Palgrave).
    [Show full text]
  • Euripides' Alcestis
    Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1984 Volume II: Greek Civilization Euripides’ Alcestis Curriculum Unit 84.02.06 by Kathleen O’Neil Overview Our view of Greek literature is rather like a view of a great mountain range in which few peaks stand out in perfect clarity against a blue sky while the rest of the range is patchily, tantalizingly hidden by banks and drifts of clouds. 1 It is with deepest gratitude and respect that I mention those men and women who have spent their lives in pursuit of discovering and preserving the treasures of Ancient Greece. It has to have been an act of love and dedication seldom thought about by many and thankfully able to be carried on by those who have taken up the quest of continuing discovery and study. Indeed, the treasures of Ancient Greece, plead to each generation of scholar, to be sought after, saved and relished. Classicists, for hundreds of years, wrestled the jewels of Ancient Greece’s artists, writers, poets, philosophers and thinkers from the dry sifting sands of Egypt. It is because of these scholars that this unit can be presented to a classroom of students in Connecticut in the year 1984 A.D. It is also because of this that much of the information about this ancient time is filled with conjecture and legend. However, we have a few peaks that stand out clearly, mainly, because others before us have climbed through the mist and cloud to beckon us to stand with them upon the mountain peak and feel the promise of knowledge, inhale the air of challenge and realize the mystery that is Ancient Greece.
    [Show full text]
  • Phantom Queen of Celtic Mythology
    Chapman University Chapman University Digital Commons Student Scholar Symposium Abstracts and Posters Center for Undergraduate Excellence Spring 5-2020 The Morrígan: Phantom Queen of Celtic Mythology Jacqueline Garcia Chapman University, [email protected] Follow this and additional works at: https://digitalcommons.chapman.edu/cusrd_abstracts Recommended Citation Garcia, Jacqueline, "The Morrígan: Phantom Queen of Celtic Mythology" (2020). Student Scholar Symposium Abstracts and Posters. 401. https://digitalcommons.chapman.edu/cusrd_abstracts/401 This Poster is brought to you for free and open access by the Center for Undergraduate Excellence at Chapman University Digital Commons. It has been accepted for inclusion in Student Scholar Symposium Abstracts and Posters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. THE MORRÍGAN: PHANTOM QUEEN OF CELTIC MYTHOLOGY JACQUELINE GARCIA The Morrígan & Cú Chulainn The Morrígan vs Thanatos In Celtic Mythology, the Morrígan was seen as the The Morrígan appeared to the hero Cú Chulainn and embodiment of death. As a raven or crow, she would offered her love to him. When he failed to recognize her appear on the battlefield and carry away the dead. As and rejected her, the Morrígan told him that she would the prophetess Neiman, her furious shriek and battle hinder him when he was in battle. When Cú Chulainn was cry mean that death would soon follow. She intimated, eventually killed, she settled on his shoulder in the form of panicked, and confused soldiers on the battlefield into a crow. Cú Chulainn’s misfortune was that he never dying of fright or mistaking their own comrades for recognized the feminine power of sovereignty that she enemies.
    [Show full text]
  • The Gospel of Hellas 
    the gospel of hellas THE GOSPEL OF HELLAS The Mission of Ancient Greece and The Advent of Christ the gospel of hellas eneral view of side, W. view ofeneral side, G Athens: Acropolis Acropolis Athens: THE GOSPEL OF HELLAS The Mission of Ancient Greece and The Advent of Christ by F R E D E R I C K H I E B E L We must not follow those who advise us mortals to think of mortal things, but we must, so far as we can, make ourselves immortal. – aristotle (Nikomachean Ethics) 1949 ANTHROPOSOPHIC PRESS new york 2008 Research InstitUte for Waldorf EDUcation Wilton, NH the gospel of hellas The electronic publication was funded by the Waldorf Curriculum Fund © Research Institute for Waldorf Education, 2008 Editor: David Mitchell Scanning and Copyediting: Ann Erwin Cover design: Scribner Ames Antrhrposophic Press, 1943 ISBN: None Preface Out of print reference books are often difficult to locate. Through the foresight and support of the Waldorf Curriculum Fund, this title has been resurrected and is now available gratis in an electronic version on www.waldorflibrary.org, one of the websites of the Research Institute for Waldorf Education. We hope you will find this resource valuable. Please contact us if you have other books that you would like to see posted. – David Mitchell Research Institute for Waldorf Education Boulder, CO August 2008 the gospel of hellas To my dear wife Beulah Emmet Hiebel By the same author: shakespeare and the awakening of modern consciousness TABLE OF CONTENTS preface ........................................................................................................11 introduction: A New View of Hellenic Culture ....................................13 chapter I: The Hellenic Consciousness ....................................................18 1.
    [Show full text]
  • Thanatos and the Passion for Transformation
    Thanatos and the Passion for Transformation GRACE JANTZEN † University of Manchester Abstract In this paper I shall restrict myself to an exploration of three theoret­ ical accounts of violence that have been offered in relation to religion, with specific reference to the question of how that violence could be transformed. What is the relationship between creativity and violence? How does newness enter the world, the newness that is needed if there is to be transformation of the violence of the present world order? None of the thinkers whose ideas of violence I shall consider has much to say about beauty or creativity. However, I shall argue that although beauty is ignored in their work, just as it has regularly been pushed to the margins in the Bible and in the theology of Christendom, it still offers a place of resistance from which violence can be challenged. In the final section of this paper I shall begin an exploration of what that entails. Keywords: Christianity, creation, violence, creativity, desire, thanatos, “Girard, René”. The Genesis story in the Hebrew Bible, with its account of a beautiful garden forfeited by a descent into sin and violence, is often taken as the paradigmatic narrative of creation for Christendom. It is not the only biblical account of creation. The prophet Isaiah, for example, describes a vision of a new cre­ ation, made by God to transform the present world of trouble, destruction and pain. He declares the proclamation of God: For behold, I create new heavens and a new earth; And the former things shall not be remembered or come to mind.
    [Show full text]
  • Who Let the Gods Out? Chapter 17
    Who Let The Gods Out? Chapter 17 – Family Matters Zeus was barely halfway through his explanation of Thanatos’s escape when Aphrodite had pulled the keys to her sports car out of her handbag. ‘I’m in,’ she squealed. ‘Sounds like fun!’ But Athene was going to take more persuading. Zeus, Elliot and Aphrodite were in Athene’s office at St Brainiac College, Oxford, where Athene was an esteemed professor of politics, philosophy, economics, English, French, Spanish, Classics, natural sciences and basket- weaving. It was a delicate negotiation. ‘YOU ARE SUCH A BORING-BRAINED, LIBRARY- LAME- O, BOFFIN-BUM!’ Aphrodite shouted at her sister across the grand mahogany desk. ‘I see you’ve been studying the Big Book of Intelligent Insults,’ Athene shot back over the top of her tortoiseshell glasses. Zeus looked at Elliot with raised eyebrows. See what I mean? Elliot could hear him say. ‘I can’t believe you’d rather sit here with your big pointy nose stuck in a book than be out finding the Chaos Stones,’ Aphrodite pouted. ‘Just because you look like a pensioner doesn’t mean that you have to act like one.’ Painful as it was to disagree with Aphrodite, Elliot could see that she was being very hard on her sister. Athene would normally be the most beautiful woman in the room: she was slender, with ebony hair piled into an elegant knot, her deep brown eyes radiating intelligence and grace over the rims of her glasses. But Elliot was convinced that all other girls looked like snotty warthogs next to Aphrodite.
    [Show full text]