Greek Mythology #27: APOLLO by Joy Journeay
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Ovid's Metamorphoses and the Transformation of Metamorphosis In
Ovid’s Metamorphoses and the transformation of metamorphosis in Christoph Ransmayr’s novel Die letzte Welt David Gallagher Department of German University of London, Royal Holloway October 2007 Working Paper 07-2 Center for Austrian Studies The Center for Austrian Studies serves scholars who study the politics, society, technology, economy, and culture of Habsburg Central Europe, modern Austria, and other Habsburg successor states. It encourages comparative studies involving Austria or the Habsburg lands and other European states. The CAS Working Papers in Austrian Studies series seeks to stimulate discussion in the field and to provide a vehicle for circulating work in progress. It is open to all papers prior to final publication, but gives priority to papers by affiliates of the Center or by scholars who have given seminars or attended conferences at the Center. The executive editor of the series is Gary B. Cohen. This paper was edited by Josh Kortbein. If you would like to have a paper considered for inclusion in the series, please contact the editor at: Center for Austrian Studies 314 Social Sciences Building 267 19th Avenue South Minneapolis, MN 55455 Tel.: 612-624-9811 Fax: 612-626-9004 e-mail: [email protected] ©2007, Center for Austrian Studies, University of Minnesota. Permission to reproduce must generally be obtained from CAS. Copying is permitted within the fair use guidelines of the U.S. Copyright Act of 1976. CAS permits the following additional educational uses without permission or payment of fees: academic libraries may place copies of Working Papers on reserve for students enrolled in specific courses; teachers may reproduce multiple copies for students in their courses. -
Mythic Metamorphosis: Re-Shaping Identity in the Works of H.D. Sarah Lewis Mitchem Thesis Submitted to the Faculty of the Virgin
Mythic Metamorphosis: Re-shaping Identity in the Works of H.D. Sarah Lewis Mitchem Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts in English Thomas Gardner, Chair Frederick M. D’Aguiar Paul Sorrentino April 13, 2007 Blacksburg, Virginia Keywords: H.D., Imagism, Mythic Metamorphoses, Asklepios Copyright (Optional) Mythic Metamorphosis: Re-shaping Identity in the Works of H.D. Sarah Lewis Mitchem Abstract In section fifteen of the poem The Walls Do Not Fall author Hilda Doolittle (H.D.) address her audience and articulates the purpose of the poet in the following lines: “we are the keepers of the secret,/ the carriers, the spinners/ of the rare intangible thread/ that binds all humanity/ to ancient wisdom,/ to antiquity;/…every concrete object/ has abstract value, is timeless/ in the dream parallel” (Trilogy 24). H.D. mined her own life for charged relationships which she then, through writing, connected to the mythic characters of antiquity whose tales embodied the same struggles she faced. Reading concrete objects as universal symbols which transcend time, her mind meshed the 20th century with previous cultures to create a nexus where the questions embedded in the human spirit are alive on multiple planes. The purpose of this research project is not to define her works as “successful” or “unsuccessful,” nor to weigh the works against each other in terms of “advancement.” Rather it is to describe the way she manipulates this most reliable of tools, mythic metamorphosis, in works stretching from her early Imagist poetry, through her long poem Trilogy, and finally into her last memoir End To Torment, taking note of the way she uses this tool to form beauty from harsh circumstances and help heal her shattered psyche. -
Images of Water” That Will Introduce Us to a Wide Range of Expressive Landscapes
THEMATIC ROUTES Images Water, the archetypal and essential human resource par excellence, has been depicted in all cultures since the dawn of humanity up to the present of Water day. Its wide range of symbolic, sociological, literary and aesthetic Esther Moñivas Mayor connotations within the history of Western painting means that it can be approached from the viewpoint of numerous different issues. These include man’s relationship with nature and conquest of it, our vulnerable position midway between the fertility and destruction that give rise to natural resources, spirituality and ancestral rites associated with the elements, the relationship between water and the female, and pure enjoyment of its contemplation. The present tour of the Thyssen-Bornemisza Collection spans the 14th to the 20th centuries through a selection of “images of water” that will introduce us to a wide range of expressive landscapes. We will be seeing lakes, with their reflections that so fascinated painters, springs and rivers associated with biblical and mythological stories, unknown seas or ones whose raging waters have tested the courage of seafarers to the limit, majestic winter landscapes, ports and scenes of leisure activities. These are just a few of the themes that the painters in question have bequeathed to us, inviting us to reflect on and look at water in the context of our daily surroundings in a new way. ROOM 1 our survey begins in the medieval period with the aim of appreciating the LORENZO VENEZIANO sacred significance that water had within Active between 1356 and 1372 Christian religious symbolism. Portable Triptych of the Crucifixion: All the great civilisations of the ancient The Crucifixion (central panel), world grew up around river basins. -
The Labours of Heracles (Part 1)
The Labours of Heracles (part 1) Long ago, a baby boy was asleep in a nursery. The door was open to let the cool breeze waft into the room. However, it was not just the air that could enter the room. First one, and then a second snake slithered in through the gap. They had been sent by the goddess Hera, Queen of Heaven. It’s hard to understand how anyone, even a goddess, could hold anything against innocent children, but her immortal heart was filled with hatred for the baby boy. His mother was a human woman, but his father was none other than Zeus, Lord of Heaven, and husband of Hera. In short, Hera was jealous. The snakes slid towards the bed. The baby stretched and yawned. The viper who was out in front stuck out his tongue and hissed. It reared its head to see if it could reach the top of the mattress. That was the last thing it did, because the boy shot out his hand and grabbed it by the neck. The other snake slid swiftly across the floor towards him, but the child grabbed that one too and began to shake it violently. The nurse heard the commotion came rushing into the nursery, but it was too late – for the snakes. The boy, whose name was Heracles, had killed them both. The boy grew into a teenager, and he was without doubt the strongest human who had ever walked on the face of the Earth. Still young, he was a formidable sight, with his towering height and his huge muscles. -
General Index
GENERAL INDEX A.GILIM, and n. Aesopic tradition, , and abstractions, n. nn. –, Acarnania, Aetna, , Acastus, Aetna, n. Accius, and n. Agamemnon, n. , , , accusative, , n. , –, , –, , – Agdistis, Achelous, Agenor, Achilles, , , , , , , , ages, myth of, see races, myth of –, , , , , Agias of Troezen, , Acontius, , n. , , agriculture, , , , , , – and n. , , , , , –, Actaeon, n. , , , , n. , –, ; Actor, agriculture section in Works and Acusilaus of Argos, and n. , Days, , , –, and n. Agrius, Adad, aidos, n. , ; personified, , adamant, adjective(s), , , Aietes, Admonitions of Ipuwar,andn. Aigipan, Adodos, ainos, , –, Adrasteia, Aither, and n. Adriatic (sea), Aithon, , n. Aegean (sea), , , aitiology, , , nn. –, Aegimius, – and n. , , , and Aegle, , n. , , , , Aelian Ajax son of Oileus, Historical miscellany, , Ajax son of Telamon, , , – and n. Aeolic dialect, , –, , Akkadian, n. , n. , , , , –; East Al Mina, , or Asiatic Aeolic, –, Alalu, , n. , , Alcaeus, , , n. Aeolids, , , Alcidamas, , , , , , Aeolis, Eastern, , , –, , n. Aeolism, , , , Alcinous, , n. , n. , Aeolus, –, , , , Aeschines, Alcmaeonidae, Aeschylus, , , , and Alcmaeonis, n. , Alcman, n. , and n. , Prometheus Bound, n. , and n. n. Alcmaon, – general index Alcmene, –, –, Antoninus Liberalis, , , n. , , , Anu, –, , –, –, aoidos see singer Alcyone, , , , aorist, , –, Alexander Aetolus, , n. apate, ; personified, Alexander the Great, n. , Aphrodite, , , n. , and n. , n. , and n. , -
MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats. -
Iliad Teacher Sample
CONTENTS Teaching Guidelines ...................................................4 Appendix Book 1: The Anger of Achilles ...................................6 Genealogies ...............................................................57 Book 2: Before Battle ................................................8 Alternate Names in Homer’s Iliad ..............................58 Book 3: Dueling .........................................................10 The Friends and Foes of Homer’s Iliad ......................59 Book 4: From Truce to War ........................................12 Weaponry and Armor in Homer..................................61 Book 5: Diomed’s Day ...............................................14 Ship Terminology in Homer .......................................63 Book 6: Tides of War .................................................16 Character References in the Iliad ...............................65 Book 7: A Duel, a Truce, a Wall .................................18 Iliad Tests & Keys .....................................................67 Book 8: Zeus Takes Charge ........................................20 Book 9: Agamemnon’s Day ........................................22 Book 10: Spies ...........................................................24 Book 11: The Wounded ..............................................26 Book 12: Breach ........................................................28 Book 13: Tug of War ..................................................30 Book 14: Return to the Fray .......................................32 -
Continuity in Color: the Persistence of Symbolic Meaning in Myths, Tales, and Tropes
Georgia Southern University Digital Commons@Georgia Southern University Honors Program Theses 2016 Continuity in Color: The eP rsistence of Symbolic Meaning in Myths, Tales, and Tropes McKinley May Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the Children's and Young Adult Literature Commons Recommended Citation May, McKinley, "Continuity in Color: The eP rsistence of Symbolic Meaning in Myths, Tales, and Tropes" (2016). University Honors Program Theses. 170. https://digitalcommons.georgiasouthern.edu/honors-theses/170 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in University Honors Program Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Continuity in Color: The Persistence of Symbolic Meaning in Myths, Tales, and Tropes An Honors Thesis submitted in partial fulfillment of the requirements for Honors in the Department of Literature and Philosophy. By McKinley May Under the mentorship of Joe Pellegrino ABSTRACT This paper examines the symbolism of the colors black, white, and red from ancient times to modern. It explores ancient myths, the Grimm canon of fairy tales, and modern film and television tropes in order to establish the continuity of certain symbolisms through time. In regards to the fairy tales, the examination focuses solely on the lesser-known stories, due to the large amounts of scholarship surrounding the “popular” tales. The continuity of interpretation of these three major colors (black, white, and red) establishes the link between the past and the present and demonstrates the influence of older myths and beliefs on modern understandings of the colors. -
Folktale Types and Motifs in Greek Heroic Myth Review P.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic Quest
Mon Feb 13: Heracles/Hercules and the Greek world Ch. 15, pp. 361-397 Folktale types and motifs in Greek heroic myth review p.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic quest NAME: Hera-kleos = (Gk) glory of Hera (his persecutor) >p.395 Roman name: Hercules divine heritage and birth: Alcmena +Zeus -> Heracles pp.362-5 + Amphitryo -> Iphicles Zeus impersonates Amphityron: "disguised as her husband he enjoyed the bed of Alcmena" “Alcmena, having submitted to a god and the best of mankind, in Thebes of the seven gates gave birth to a pair of twin brothers – brothers, but by no means alike in thought or in vigor of spirit. The one was by far the weaker, the other a much better man, terrible, mighty in battle, Heracles, the hero unconquered. Him she bore in submission to Cronus’ cloud-ruling son, the other, by name Iphicles, to Amphitryon, powerful lancer. Of different sires she conceived them, the one of a human father, the other of Zeus, son of Cronus, the ruler of all the gods” pseudo-Hesiod, Shield of Heracles Hera tries to block birth of twin sons (one per father) Eurystheus born on same day (Hera heard Zeus swear that a great ruler would be born that day, so she speeded up Eurystheus' birth) (Zeus threw her out of heaven when he realized what she had done) marvellous infancy: vs. Hera’s serpents Hera, Heracles and the origin of the MIlky Way Alienation: Madness of Heracles & Atonement pp.367,370 • murders wife Megara and children (agency of Hera) Euripides, Heracles verdict of Delphic oracle: must serve his cousin Eurystheus, king of Mycenae -> must perform 12 Labors (‘contests’) for Eurystheus -> immortality as reward The Twelve Labors pp.370ff. -
Flowers in Greek Mythology
Flowers in Greek Mythology Everybody knows how rich and exciting Greek Mythology is. Everybody also knows how rich and exciting Greek Flora is. Find out some of the famous Greek myths flower inspired. Find out how feelings and passions were mixed together with flowers to make wonderful stories still famous in nowadays. Anemone:The name of the plant is directly linked to the well known ancient erotic myth of Adonis and Aphrodite (Venus). It has been inspired great poets like Ovidius or, much later, Shakespeare, to compose hymns dedicated to love. According to this myth, while Adonis was hunting in the forest, the ex- lover of Aphrodite, Ares, disguised himself as a wild boar and attacked Adonis causing him lethal injuries. Aphrodite heard the groans of Adonis and rushed to him, but it was too late. Aphrodite got in her arms the lifeless body of her beloved Adonis and it is said the she used nectar in order to spray the wood. The mixture of the nectar and blood sprang a beautiful flower. However, the life of this 1 beautiful flower doesn’t not last. When the wind blows, makes the buds of the plant to bloom and then drifted away. This flower is called Anemone because the wind helps the flowering and its decline. Adonis:It would be an omission if we do not mention that there is a flower named Adonis, which has medicinal properties. According to the myth, this flower is familiar to us as poppy meadows with the beautiful red colour. (Adonis blood). Iris: The flower got its name from the Greek goddess Iris, goddess of the rainbow. -
The Annual of the British School at Athens A
The Annual of the British School at Athens http://journals.cambridge.org/ATH Additional services for The Annual of the British School at Athens: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here A Visit to Cyrene in 1895 Herbert Weld-Blundell The Annual of the British School at Athens / Volume 2 / November 1896, pp 113 - 140 DOI: 10.1017/S0068245400007115, Published online: 18 October 2013 Link to this article: http://journals.cambridge.org/abstract_S0068245400007115 How to cite this article: Herbert Weld-Blundell (1896). A Visit to Cyrene in 1895. The Annual of the British School at Athens, 2, pp 113-140 doi:10.1017/S0068245400007115 Request Permissions : Click here Downloaded from http://journals.cambridge.org/ATH, IP address: 131.173.48.20 on 15 Apr 2015 ' itfS i^>- tv lli-JOTb. V**»-iJ IhUS ntt < POINTS'Si/HEHCEl PHOTMOHAPMS ARE British School at Athens, Annual II. PLATE IV. RUINS OF CYRENE: GENERAL PLAN. A VISIT TO CYRENE IN 1895. A VISIT TO CYRENE IN 1895. BY HERBERT WELD-BLUNDELL. PLATE IV. THE difficulties that hedged round the Garden of the Hes- perides in the Greek seem still destined to make the Cyrenaica, a country to which the eyes of archaeologists have so wistfully turned, almost as inaccessible to the modern traveller as to the heroes of ancient fable. The classic maidens have vanished, the Garden is some- what run to seed, but the dragon of early legend is there, in the person of the native official who guards the historical treasures that lie strewn over the rich sites of the Pentapolis, stately tombs that worthless Arabs kennel in or plunder for statues and vases, to be peddled to Maltese or Greeks for (literally) home consumption or foreign export. -
Chthonic Aspects of Macdonald's Phantastes: from the Rising of The
Chthonic Aspects of MacDonald’s Phantastes: From the Rising of the Goddess to the Anodos of Anodos Fernando Soto The Herios was a woman’s festival. Plutarch of course could not be present at the secret ceremonies of the Thyaiades, but his friend Thyia, their president, would tell him all a man might know . From the rites known to him he promptly conjectured that it was a “Bringing up of Semele.” Semele, it is acknowledged, is but a Thraco-Phrygian form of Gaia, The “Bringing up of Semele” is but the Anodos of Gala or of Kore the Earth Maiden. It is the Return of the vegetation or Year-Spirit in the spring. (Jane Harrison, Themis 416) 1. Introduction and General Backgrounds hantastes is one of the most mysterious books George MacDonald wrote andP one of the least understood books in the English tradition. Since its publication in 1858, reviewers, readers and researchers have experienced great difficulties understanding the meaning of this complex work.The perceived impediments have been so great that some scholars remain unsure whether Phantastes contains a coherent plot or structure (Reis 87, 89, 93-94; Robb 85, 97; etc.). Other critics appear adamant that it contains neither (Wolff 50; Manlove, Modern 55, 71, 77, 79; England 65, 93, 122). Even those scholars who sense a structure or perceive a plot differ not only regarding the types of structure(s) and/or plot(s) they acknowledge (Docherty 17-22; McGillis “Community” 51-63; Gunther “First Two” 32-42), but in deciding into what, if any, genres or traditions Phantastes belongs (Prickett, “Bildungsroman” 109-23; Docherty 19, 23, 30, McGillis, “Femininity” 31-45; etc.).