Myth: Hades/ Underworld
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
'Myth' and 'Religion'
THOUGHTS ON MYTH AND RELIGION IN EARLY GREEK HISTORIOGRAPHY Robert L. FOWLER University of Bristol [email protected] RESUMEN: El artículo examina el nacimiento del concepto de mythos/mito en el contexto de la historiografía y la mitografía de la Grecia arcaica. La posibilidad de oponerse a relatos tradicionales es un factor crítico en este proceso y se relaciona estrechamente con los esfuerzos de los autores por fijar su autoridad. Se compara la práctica de Heródoto con la de los primeros mitógrafos y, aunque hay amplias similitudes, hay diferencias cruciales en el tratamiento de los asuntos religiosos. Los escrúpulos personales de Heródoto responden en parte a su bien conocida reserva en lo referente a los dioses, pero es también relevante su actitud acerca de la tarea del historiador y su noción de cómo los dioses intervienen en la historia. Mientras que los mitógrafos tratan de historicizar la mitología, Heródoto trata de modo notable de desmitologizar la historia, separando ambas, pero al mismo tiempo definiendo con más profundidad que nunca sus auténticas interconexiones. Esta situación sugiere algunas consideraciones generales acerca de la relación entre mito y ritual en Grecia. ABSTRACT: The article examines the emerging concept of mythos/myth in the context of early Greek historiography and mythography. The possibility of contesting traditional stories is a critical factor in this process, and is closely related to the efforts of writers to establish their authority. Herodotos’ practice is compared with that of the early mythographers, and though there are some broad similarities, there are crucial differences in their approach to religious matters. -
L'homme Qui Tombe De Don Delillo
UDA 2008-2009 Le monde en pages L’homme qui tombe de Don DeLillo Animation de l’Atelier Daniel Simon L'Homme qui tombe, Don DeLillo, traduit de l'américain par Marianne Véron, Actes Sud, 298 pp., env. 22 € Le 11 septembre de DeLillo Guy Duplat Mis en ligne le 11/04/2008 Le romancier américain publie, à son tour, son roman sur "la catastrophe" A près avoir donné du temps au temps et laissé retomber l'émotion immédiate, les grands romanciers américains se sont emparés des attentats du 11 septembre comme d'un événement mythique, refondateur ou destructeur, de l'identité américaine. Il y eut l'an dernier, le roman de Jay McInerney "La belle vie" (aux Editions de l'Olivier), un des plus réussis sur ce thème. La semaine dernière, nous parlions du dernier livre d'Updike, "Terroriste" (au Seuil), un thriller. On attendait encore le roman de Don DeLillo, le voici. A nouveau, comme dans ces autres romans sur le 11-9, "L'homme qui tombe" ne parle pas immédiatement de la chute des tours (quoique) mais évoque plutôt son impact sur les esprits. Il raconte comment certains survivants ont reçu dans leur chair, comme des stigmates, des bouts de corps des victimes. Et, surtout, comment des millions d'autres Américains ont vu leurs tours intérieures se fissurer et leur vision de leur monde proche, dangereusement basculer. Il y avait un monde avant le 11 septembre, il y en a un autre après. POKER À LAS VEGAS L'histoire est d'apparence simple. Keith, un banquier qui travaillait dans une des tours du WTC, juste en dessous de l'impact meurtrier, a pu, par miracle, s'échapper à temps et il arrive couvert de gravats et de coupures chez son ex-femme Lianne et leur fils Justin. -
1. Some of the Definitions of the Different Types of Objects in the Solar
1. Some of the definitions of the different types of objects in has the greatest orbital inclination (orbit at the the solar system overlap. Which one of the greatest angle to that of Earth)? following pairs does not overlap? That is, if an A) Mercury object can be described by one of the labels, it B) Mars cannot be described by the other. C) Jupiter A) dwarf planet and asteroid D) Pluto B) dwarf planet and Kuiper belt object C) satellite and Kuiper belt object D) meteoroid and planet 10. Of the following objects in the solar system, which one has the greatest orbital eccentricity and therefore the most elliptical orbit? 2. Which one of the following is a small solar system body? A) Mercury A) Rhea, a moon of Saturn B) Mars B) Pluto C) Earth C) Ceres (an asteroid) D) Pluto D) Mathilde (an asteroid) 11. What is the largest moon of the dwarf planet Pluto 3. Which of the following objects was discovered in the called? twentieth century? A) Chiron A) Pluto B) Callisto B) Uranus C) Charon C) Neptune D) Triton D) Ceres 12. If you were standing on Pluto, how often would you see 4. Pluto was discovered in the satellite Charon rise above the horizon each A) 1930. day? B) 1846. A) once each 6-hour day as Pluto rotates on its axis C) 1609. B) twice each 6-hour day because Charon is in a retrograde D) 1781. orbit C) once every 2 days because Charon orbits in the same direction Pluto rotates but more slowly 5. -
Aspects of the Demeter/Persephone Myth in Modern Fiction
Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed. -
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos By: Anmol Singh, Kesia Santos, and Yuri Seo Biographical, Cultural, and Historical Background The Greek Theater - Sophocles was one of the prominent figures in Greek theater. - Plays were performed in outdoor areas. - There were a limited number of actors and a chorus.6 - Antigone was mostly likely performed in the same fashion. AS Family Tree YS What do Scene 4, Ode 4, Scene 5, Paean and Exodos of Antigone focus on? - Family Conflict (internal and external) - Death (tragedy) - Poor judgment - Feeling and thinking - Fate - Loyalty - Love YS Genres & Subgenres Tragedy - Not completely like modern tragedies (ex. sad & gloomy). - Tragedies heavily used pathos (Greek for suffering). - Used masks and other props. - Were a form of worship to Dionysus.7 AS Tragic Hero - Antigone and Creon are both like tragic heros. - Each have their own hamartia which leads to their downfalls.8,9 AS Family Conflict & Tragedy in Antigone - Antigone hangs herself - Haimon stabs himself - Eurydice curses Creon and blames him for everything - Eurydice kills herself YS Dominant Themes Family: The story of Niobe - Antigone relates her story to the story of Niobe. - Antigone says “How often have I hear the story of Niobe, Tantalus’s wretched daughter…” (18) - Chorus tells Antigone that Niobe “was born of heaven,” but Antigone is a woman. YS Womanhood - Antigone defies the place a woman is supposed to have during this time period - Antigone and Ismene contrast each other - Creon is the prime example of the beliefs that males hold during this period KS Power and Corruption: Dryas and Lycurgus - A character the chorus compares to Antigone is Lycurgus. -
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. -
The Frogs 2K4: Showdown in Hades
SCRIPT The Frogs 2K4: Showdown in Hades Directed by Kerri Rambow XANTHIAS: Man, do you think I should say one of those Martin Lawrence lines to entertain these bougie people? I could make them laugh just like the movies. DIONYSUS: Sure. Say anything you want, except of course, something like, "Oh these bags! Oh my back!" And don’t talk about my momma. XANTHIAS: But that’s funny! Don’t you want me to do my job? DIONYSUS: Whatever! Stop using my issues as your lines--"Dionysus’ mom is so old, she farts dust." That’s really not funny. XANTHIAS: Well it’s funny to the audience, and no one else is having any problems with it. DIONYSUS: Oh yeah, did I mention you also can’t say "My blisters! My blisters on my blisters! My blisters in places you don’t want to know. Oh! Oh! Oh! Can’t you at least wait until I’m dead and gone? XANTHIAS: But by then no one would think it was funny. Just this one last time, until I get new lines... DIONYSUS: How about "NO"? If I was there in the audience your jokes would make me grow old. XANTHIAS: Well, this play is supposed to be a comedy. What if I told the joke about the chicken, and the guy with the chicken, and...and he made a chicken with... DIONYSUS: (To audience) That joke is really old. Older than my mother. (To Xanthias) Go on! Tell them! Just don’t...don’t... XANTHIAS: Don’t do what? DIONYSUS: Don’t drop my shoes. -
Man Is Indestructible: Legend and Legitimacy in the Worlds of Jaroslav Hašek
Man Is Indestructible: Legend and Legitimacy in the Worlds of Jaroslav Hašek The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Weil, Abigail. 2019. Man Is Indestructible: Legend and Legitimacy in the Worlds of Jaroslav Hašek. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42013078 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use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
Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above. -
What Is Hades, Hell and Heaven? Many People Are Confused About
What is hades, hell and heaven? Many people are confused about the difference between "hades" and "hell." Some Bible translations make no distinction in the two words. What about "heaven?" What do you know about the place where the righteous will dwell? Let's take a serious look in the Bible to see if we can find the distinctions and answers to these places of reality. I. IS THERE A DISTINCTION MADE BETWEEN "HADES" AND "HELL"? A. Even though some Bible translations make no distinctions, the original writers of the Greek New Testament made distinctions between them using two different Greek words. B. The two words: "Hades" and "Geenna" or "Gehenna". II. WHAT ARE THE TWO WORDS FOR HADES AND HELL? A. Hades. (26) "Therefore My heart was glad and My tongue exulted; moreover My flesh also will live in hope; (27) because You will not abandon My soul to Hades, nor allow Your Holy One to undergo decay.” Acts 2:26-27 1. Peter is preaching to the Jews on the day of Pentecost, and quotes from the Psalms to show David was speaking about Jesus. 2. At the death of Jesus, what happened to His soul (v.27)? 3. What happened to His body (v.27)? "He looked ahead and spoke of the resurrection of the Christ, that He was neither abandoned to Hades, nor did His flesh suffer decay." Acts 2:31 4. His soul was not abandoned to Hades and His flesh (body) did not remain long enough to decay. 5. Hades is a temporary holding place of the unrighteous souls. -
Greek Mythology
Greek mythology Mythical characters Gods and goddesses Zeus is the king of the gods, ruler of Mount Olympus and god of the sky. His name means ‘bright’ or ‘sky’. His royal animals are the eagle and bull. Zeus’s favourite weapon is a lightning bolt made for him by the Cyclops. Zeus can be a greedy and dishonest god. If he desires something, he is unlikely to let anything stop him from gaining it. Because of this, he often lies about his behaviour to Hera, his wife. Hera is the queen of the gods and wife of Zeus. She is the goddess of women, marriage, childbirth, heirs, kings and empires. She often carries a lotus- tipped staff. Hera never forgets an insult or injury and can be cruel or vengeful. Poseidon is the god of rivers, seas, floods, droughts and earthquakes. Brother to Zeus, he is the king of the sea and protector of all waters. Poseidon carries a trident: a spear with three points. His sacred animals are the dolphin and the horse. Athena is the goddess of wisdom, intelligence, skill, peace and warfare. According to legend, she was born out of Zeus’s forehead fully formed and fully armoured. She looks over heroes such as Odysseus and Hercules. Athena is often accompanied by a sacred owl. Her symbol is the olive tree. KS2 | Page 1 copyright 2019 Greek mythology Gods and goddesses Aphrodite is the goddess of love and beauty, who can cause gods or mortals to fall in love with whomever she chooses. Aphrodite’s sacred animals include doves and sparrows.