DOCSLIB.ORG

Multiple Arts: Volume 2: the Muses Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Multiple Arts: Volume 2: the Muses Ebook MULTIPLE ARTS: VOLUME 2: THE MUSES PDF, EPUB, EBOOK Jean-Luc Nancy,Simon Sparks | 288 pages | 01 Jul 2006 | Stanford University Press | 9780804739542 | English | Palo Alto, United States Multiple Arts: Volume 2: The Muses PDF Book Bident Cap of invisibility. Rhesus was the son of Strymon and Calliope or Euterpe. Samy Alim, John R. Charonium at Aornum Charonium at Acharaca. Buy 2 CDs or download online. Namespaces Article Talk. Burney pp. For Alcman and Mimnermus , they were even more primordial , springing from the early deities Ouranos and Gaia. This website uses cookies to ensure you get the best experience on our website. Lenguas oprimidas, and: Los expatriados Silvia Ortiz pp. Les Iris. Lyre , Plectrum. Writing tablet , Stylus , Lyre. Angelia Arke Hermes Iris. Rank is a recurring mechanic in the series, often used in place of demons or Personas leveling up. Details Title Two Muses. Click 'Save detail' and wait until the image updates. A Muse with a lyre. English ISBN. However, the classical understanding of the Muses tripled their triad and established a set of nine goddesses, who embody the arts and inspire creation with their graces through remembered and improvised song and mime, writing, traditional music, and dance. The Muses are the storytellers from Disney's Hercules. For the English rock band, see Muse band. Description Desc. Greek mythology in popular culture. Rickford, and Arnetha F. Tragic mask , Sword or any kind of blade , Club , Kothornos boots. Here again, Calliope epic poetry carries a writing tablet; Clio history carries a scroll and books; Euterpe song and elegiac poetry carries a flute, the aulos ; Erato lyric poetry is often seen with a lyre and a crown of roses; Melpomene tragedy is often seen with a tragic mask; Polyhymnia sacred poetry is often seen with a pensive expression; Terpsichore choral dance and song is often seen dancing and carrying a lyre; Thalia comedy is often seen with a comic mask; and Urania astronomy carries a pair of compasses and the celestial globe. Without cookies your experience may not be seamless. Music , Song , and Lyric Poetry. Archived from the original on Originally, the invocation of the Muse was an indication that the speaker was working inside the poetic tradition, according to the established formulas. Res Extensa Multiple Arts: Volume 2: The Muses Writer Astraeus Pallas Perses. Contact Contact Us Help. March Learn how and when to remove this template message. Gallery G Does something look wrong with this image? Burney pp. The Nine Muses. Leiner, Paul S. In so doing, and because of the design and intent of 1. Huezo pp. Conclusion Advances in Spanish as a Heritage Language ed. In the archaic period, before the widespread availability of books scrolls , this included nearly all of learning. The invocation occurs near the beginning of their work. Retrieved Inspirational goddesses of literature, science, and the arts. Are you an author? For poet and "law-giver" Solon , [27] the Muses were "the key to the good life"; since they brought both prosperity and friendship. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Wikipedia Cite this information. N Space Shuttle Pavilion. Hesiod in Theogony narrates that the Muses brought to people forgetfulness, that is, the forgetfulness of pain and the cessation of obligations. Additional Information. Wikimedia Commons Wikiquote. Corybantes were the children of Thalia and Apollo. According to Hesiod 's Theogony seventh century BC , they were daughters of Zeus , king of the gods, and Mnemosyne , Titan goddess of memory. Hermanubis Hermes Thanatos. La ville spectacle, Paris, cat. It is commonly held that the local pronunciation of the names has been colorfully anglicized in an unusual manner by the "Yat" dialect. More Notes. Previous Issue. Which Reveals Nothing. Ball review Erin Moira Lemrow pp. Meridian Series Meridian: Crossing Aesthetics. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of "making," and outlines the tensions inherent in the faire , the "making" that characterizes the very process of production and thereby the structure of poetry in all its forms. It was released in January As a side-effect of this movement the word "museum" originally, "cult place of the Muses" came to refer to a place for the public display of knowledge. He Says. Pausanias referred to the Muses by the surnames "Ardalides" or "Ardaliotides", because of a sanctuary to them at Troezen said to have been built by the mythical Ardalus. Another, rarer genealogy is that they are daughters of Harmonia the daughter of Aphrodite and Ares , which contradicts the myth in which they were dancing at the wedding of Harmonia and Cadmus. More in Philosophy. The Merriam-Webster Online Dictionary. This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The Muses were venerated especially in Boeotia , in the Valley of the Muses near Helicon , and in Delphi and the Parnassus , where Apollo became known as Mousagetes "Muse-leader" after the sites were rededicated to his cult. Editorial Board. Let us know. It was said that the winged horse Pegasus touched his hooves to the ground on Helicon, causing four sacred springs to burst forth, from which the Muses, also known as pegasides , were born. Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Ed Simon Sparks. Multiple Arts: Volume 2: The Muses Reviews If you notice a mistake or have additional information about this object, please email collectionsdata artsmia. Rights Public Domain. For example:. Stanford: Stanford University Press, Agon Panathenaic Games Rhieia. Corybantes were the children of Thalia and Apollo. A Muse with a lyre. View Formatted Version. Art Wikimedia Commons has media related to Muses. Calliope is the main subject of a story arc published in the seventeenth issue of Sandman. Ed Simon Sparks. Eos Helios Selene. Learn about Author Central. Views Read Edit View history. Century 16th century. Some ancient authorities thought that the Nine Muses were of Thracian origin. One of the people frequently associated with the Muses was Pierus. In Renaissance and Neoclassical art, the dissemination of emblem books such as Cesare Ripa 's Iconologia and many further editions helped standardize the depiction of the Muses in sculpture and painting, so they could be distinguished by certain props. Editorial Board. IO In Blanchors Company. Discordianism Gaianism Feraferia Hellenism. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Pausanias referred to the Muses by the surnames "Ardalides" or "Ardaliotides", because of a sanctuary to them at Troezen said to have been built by the mythical Ardalus. Apollo and the Muses. Often Muse- worship was associated with the hero-cults of poets: the tombs of Archilochus on Thasos and of Hesiod and Thamyris in Boeotia all played host to festivals in which poetic recitations accompanied sacrifices to the Muses. Ancient Greek deities by affiliation. Leiner, Paul S. Ascalaphus Ceuthonymus Eurynomos Hade's cattle. For Alcman and Mimnermus , they were even more primordial , springing from the early deities Ouranos and Gaia. Dated 16th century. Rickford, and Arnetha F. Unsourced material may be challenged and removed. Veil , Grapes referring to her as an agricultural goddess. In Delphi three Muses were worshiped as well, but with other names: Nete , Mese , and Hypate , which are assigned as the names of the three chords of the ancient musical instrument, the lyre. Making Poetry. Samy Alim, John R. More Notes. Accession Number Jean- Luc Nancy , Simon Sparks. Multiple Arts: Volume 2: The Muses Read Online The Greek word mousa is a common noun as well as a type of goddess: it literally means "art" or "poetry". On Blanchot. The Great Library of Alexandria in Alexandria, Egypt, was one of the largest and most significant libraries of the ancient world. Learn about Author Central. Art Century 16th century. It is commonly held that the local pronunciation of the names has been colorfully anglicized in an unusual manner by the "Yat" dialect. Stanford: Stanford University Press, LOG IN. Circe Hecate Hermes Trismegistus. Writing tablet , Stylus , Lyre. Discordianism Gaianism Feraferia Hellenism. Deguy lAn Neuf. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of "making," and outlines the tensions inherent in the faire , the "making" that characterizes the very process of production and thereby the structure of poetry in all its forms. Rhesus was the son of Strymon and Calliope or Euterpe. The Merriam-Webster Online Dictionary. Les 27 meilleures images de Cadre multi photo en Art Nouveau et Jugendstil. A huge collection of free porn comics for adults. The Muses had several temples and shrines in ancient Greece, their two main cult centres being Mount Helikon in Boiotia and Pieria in Makedonia. The Library of Alexandria and its circle of scholars formed around a mousaion i. Calliope trained him in singing. Explore Newsflash A poet mourned. Globe and compass. Multiple Arts. In Renaissance and Neoclassical art, the dissemination of emblem books such as Cesare Ripa 's Iconologia and many further editions helped standardize the depiction of the Muses in sculpture and painting, so they could be distinguished by certain props. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Les documents Flashcards. Founded in , the journal continues to set the stage for transdisciplinary research concerning the interplay between science, technology, and the arts. Charoniums Charonium at Aornum Charonium at Acharaca.
Load more

Recommended publications
  • The Modes of Ancient Greek Music
    www.24grammata.com LIBRARY OF WELLESLEY COLLEGE PRESENTED BY Prof, K. H. Horsford www.24grammata.com www.24grammata.com www.24grammata.com www.24grammata.com www.24grammata.com THE MODES OF ANCIENT GREEK MUSIC MONRO www.24grammata.com Bonbon HENRY FROWDE Oxford University Press Warehouse Amen Corner, E.G. glen? ^orft MACMILLAN & CO., 66, FIFTH AVENUF. www.24grammata.com The Modes of Ancient Greek Music BY D. B. MONRO, M.A. PROVOST OF ORIEL COLLEGE, OXFORD HONORARY DOCTOR OF LETTERS IN THE UNIVERSITY OF DUBLIN AT THE CLARENDON PRESS 1894 www.24grammata.com 'fA^' Opfovb PRINTED AT THE CLARENDON PRESS BY HORACE HART, PRINTER TO THE UNIVERSITY ;^ www.24grammata.com n. DEDICATED TO THE PROVOST AND FELLOWS OF TRINITY COLLEGE DUBLIN ^€LV0(TVVr]9 €V€Ka www.24grammata.com www.24grammata.com PREFACE The present essay is the sequel of an article on Greek music which the author contributed to the new edition of Smith's Dictionary of Greek and Roman Antiquities (London, 1890-91, art. Musica). In that article the long-standing controversy regarding the nature of the ancient musical Modes was briefly noticed, and some reasons w^ere given for dissenting from the views maintained by Westphal, and now very generally accepted. A full discussion of the subject would have taken up more space than was then at the author's disposal, and he accordingly pro- posed to the Delegates of the Clarendon Press to treat the question in a separate form. He has now to thank them for undertaking the publication of a work which is necessarily addressed to a very limited circle.
    [Show full text]
  • Orpheus and Mousikê in Greek Tragedy
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2016 Orpheus and mousikê in Greek Tragedy Semenzato, Camille Abstract: Much as he is famous, Orpheus is only mentioned by name fourteen times in the Greek tragedies and tragic fragments that have survived the ravages of time. Furthermore he is never shown as a protagonist, but always evoked by a dramatic character as an example, a parallel, a peculiarity, or a fantasy. This legendary singer is mentioned every time, if not explicitly, at least implicitly, in conjunction with DOI: https://doi.org/10.1515/tc-2016-0016 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-171919 Journal Article Published Version Originally published at: Semenzato, Camille (2016). Orpheus and mousikê in Greek Tragedy. Trends in Classics, 8(2):295-316. DOI: https://doi.org/10.1515/tc-2016-0016 TC 2016; 8(2): 295–316 Camille Semenzato* Orpheus and mousikê in Greek Tragedy DOI 10.1515/tc-2016-0016 Abstract: Much as he is famous, Orpheus is only mentioned by name fourteen times in the Greek tragedies and tragic fragments that have survived the ravages of time. Furthermore he is never shown as a protagonist, but always evoked by a dramatic character as an example, a parallel, a peculiarity, or a fantasy. This leg- endary singer is mentioned every time, if not explicitly, at least implicitly, in con- junction with μουσική, the ‘art of the Muses’, namely ‘music’ in its fullest sense.
    [Show full text]
  • The Geodetic Sciences in Byzantium
    The geodetic sciences in Byzantium Dimitrios A. Rossikopoulos Department of Geodesy and Surveying, Aristotle University of Thessaloniki [email protected] Abstract: Many historians of science consider that geodeasia, a term used by Aristotle meaning "surveying", was not particularly flourishing in Byzantium. However, like “lo- gistiki” (practical arithmetic), it has never ceased to be taught, not only at public universi- ties and ecclesiastical schools, as well as by private tutors. Besides that these two fields had to do with problems of daily life, Byzantines considered them necessary prerequisite for someone who wished to study philosophy. So, they did not only confine themselves to copying and saving the ancient texts, but they also wrote new ones, where they were ana- lyzing their empirical discoveries and their technological achievements. This is the subject of this paper, a retrospect of the numerous manuscripts of the Byzantine period that refer to the development of geodesy both in teaching and practices of surveying, as well as to mat- ters relating to the views about the shape of the earth, the cartography, the positioning in travels and generally the sciences of mapping. Keywords: Geodesy, geodesy in Byzantium, history of geodesy, history of surveying, history of mathematics. Περίληψη: Πολλοί ιστορικοί των επιστημών θεωρούν ότι η γεωδαισία, όρος που χρησι- μοποίησε ο Αριστοτέλης για να ορίσει την πρακτική γεωμετρία, την τοπογραφία, δεν είχε ιδιαίτερη άνθιση στο Βυζάντιο. Ωστόσο, όπως και η “λογιστική”, δεν έπαψε ποτέ να διδά- σκεται όχι μόνο στα κοσμικά πανεπιστήμια, αλλά και στις εκκλησιαστικές σχολές, καθώς επίσης και από ιδιώτες δασκάλους. Πέρα από το ότι οι δύο αυτοί κλάδοι είχαν να κάνουν με προβλήματα της καθημερινής ζωής των ανθρώπων, οι βυζαντινοί θεωρούσαν την διδα- σκαλία τους απαραίτητη προϋπόθεση ώστε να μπορεί κανείς να παρακολουθήσει μαθήμα- τα φιλοσοφίας.
    [Show full text]
  • 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.
    [Show full text]
  • Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011)
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 27 | 2014 Varia Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) Angelos Chaniotis Electronic version URL: http://journals.openedition.org/kernos/2266 DOI: 10.4000/kernos.2266 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 November 2014 Number of pages: 321-378 ISBN: 978-2-87562-055-2 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, « Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) », Kernos [Online], 27 | 2014, Online since 01 October 2016, connection on 15 September 2020. URL : http:// journals.openedition.org/kernos/2266 This text was automatically generated on 15 September 2020. Kernos Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) 1 Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) Angelos Chaniotis 1 The 24th issue of the Epigraphic Bulletin for Greek Religion presents epigraphic publications of 2011 and additions to earlier issues (publications of 2006–2010). Publications that could not be considered here, for reasons of space, will be presented in EBGR 2012. They include two of the most important books of 2011: N. PAPAZARKADAS’ Sacred and Public Land in Ancient Athens, Oxford 2011 and H.S. VERSNEL’s Coping with the Gods: Wayward Readings in Greek Theology, Leiden 2011. 2 A series of new important corpora is included in this issue. Two new IG volumes present the inscriptions of Eastern Lokris (119) and the first part of the inscriptions of Kos (21); the latter corpus is of great significance for the study of Greek religion, as it contains a large number of cult regulations; among the new texts, we single out the ‘sacred law of the tribe of the Elpanoridai’ in Halasarna.
    [Show full text]
  • Greek Myths Student Sample
    CONTENTS Why Study Greek Mythology? ......................................................................................................................................5 How to Use This Guide ...................................................................................................................................................6 Lesson 1: Olden Times, Gaea, The Titans, Cronus (pp. 9-15) ....................................................................................8 Lesson 2: Zeus and his Family (pp. 16-21) .................................................................................................................10 Lesson 3: Twelve Golden Thrones (pp. 22-23) ...........................................................................................................12 Lesson 4: Hera, Hephaestus (pp. 24-29) .....................................................................................................................14 Lesson 5: Aphrodite, Ares, Athena (pp. 30-37) ..........................................................................................................16 Review Lesson: Lessons 1-5 ........................................................................................................................................18 Lesson 6: Poseidon, Apollo (pp. 38-43) .......................................................................................................................26 Lesson 7: Artemis, Hermes (pp. 44-55) .......................................................................................................................28
    [Show full text]
  • MYTHS R, 44ORSE 'MYTHOLOGY ANNA
    NOS0-430 ERIC REPORT RESUME ED 010 139 1 a.09.0.67 24 QRE VI NYTHS,..*LAI MATURE ORR ICULUM: STUDENT VERS IOU. it I TZH ABER RaR60230', &.14IVERS ITV OF mesa* =MESE CRP -Pi 449-10 RR- 5.11360-v40 ..45 ED itS C E MP'S Os 13 HC..424i60 cop it SEVENTH GRADE, *STUDY -GUIDES, *CURRIE Cdi.UN GUIDES, -*LITERATURE* *NYTHOLOGY. - ENGLISH C URRI GUM. -LITERATURE PROGRAMS EUGENE, OREGON PROJECT ENGL. UN, NB4 GRAMMAR PRESENTED- HERE WM A ,STUDY t-S_VI OE: FOR.STUDENT USE; A .-SEWENTHGRADE L/ TER ATUR E CURRI CULUNT I NTROOUCTOLir XATER/AL los PaesENTE0 ON GREEK MYTHS r, 44ORSE 'MYTHOLOGY ANNA :. AMERICAN INDIAN r prIfiquisfeatsivoir GUEST IONS SUGGESTED A CT I VItIES9 AND Ass REFERENCE soft of PITIliS VritE PRESENTED. AN ACCONIANY-INS *GUIDE WAS PREPARED FOR TEACfrIERS EL) 010 140I e: UN/ .0) rave:t e PT.PARThMIT EnUCI1.11%; ante wet rA.RE Office of Education mils document has been reproduced exactly as received from the person or organ:zat:on originating it. Points of view or .op':nions stated do not necessarily represent official -Office of Education position or policy. OREGON CURRICULUM,. STUDY CENTER Trri-S"lir" in 11.3 Literature Curriculum I Studait Version The project reported heksinwas supported through the Cooperative Research Program ofthe Office of Education, U, S. Department of Health,Education, and Welfare. 4 4 r 7777*,\C 1,,IYTHS General. Introduction How was the world made? Where did the first people live? Why are we here? To all of these questions people have sought answers for thousands of years.
    [Show full text]
  • How Disney's Hercules Fails to Go the Distance
    Article Balancing Gender and Power: How Disney’s Hercules Fails to Go the Distance Cassandra Primo Departments of Business and Sociology, McDaniel College, Westminster, MD 21157, USA; [email protected] Received: 26 September 2018; Accepted: 14 November; Published: 16 November 2018 Abstract: Disney’s Hercules (1997) includes multiple examples of gender tropes throughout the film that provide a hodgepodge of portrayals of traditional conceptions of masculinity and femininity. Hercules’ phenomenal strength and idealized masculine body, coupled with his decision to relinquish power at the end of the film, may have resulted in a character lacking resonance because of a hybridization of stereotypically male and female traits. The film pivots from hypermasculinity to a noncohesive male identity that valorizes the traditionally-feminine trait of selflessness. This incongruous mixture of traits that comprise masculinity and femininity conflicts with stereotypical gender traits that characterize most Disney princes and princesses. As a result of the mixed messages pertaining to gender, Hercules does not appear to have spurred more progressive portrayals of masculinity in subsequent Disney movies, showing the complexity underlying gender stereotypes. Keywords: gender stereotypes; sexuality; heroism; hypermasculinity; selflessness; Hercules; Zeus; Megara 1. Introduction Disney’s influence in children’s entertainment has resulted in the scrutiny of gender stereotypes in its films (Do Rozario 2004; Dundes et al. 2018; England et al. 2011; Giroux and Pollock 2010). Disney’s Hercules (1997), however, has been largely overlooked in academic literature exploring the evolution of gender portrayals by the media giant. The animated film is a modernization of the classic myth in which the eponymous hero is a physically intimidating protagonist that epitomizes manhood.
    [Show full text]
  • Reading Death in Ancient Rome
    Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.
    [Show full text]
  • Analyzing Two Domains of Dionysus in Greek Polytheism
    Philomathes Two Sides of the Dice: Analyzing Two Domains of Dionysus in Greek Polytheism T he study of religion in ancient Greece is complicated by the fact that, unlike modern world religions with ancient roots, there is no “holy doctrine” to which scholars can refer. Although they shared a complex pantheon of gods, ancient Greek city- states were never a unified political empire; instead of a globalized dogma, religion was localized within each polis, whose inhabitants developed their own unique variations on “Greek” religious rituals and beliefs.1 The multiplex natures of ancient Greek gods compounds the problem; it is a monumental task to study all aspects of all deities in the Greek world. As a result, scholarship often focuses solely on a single popular aspect or well-known cult of a god or goddess — such as Apollo Pythios of Delphi or Athena Parthenos of Athens, neglecting other facets of the gods’ cult and personality.2 Greek religion, 1 As Jon D. Mikalson states in Athenian Popular Religion (Chapel Hill, NC: University of North Carolina Press, 1983), 4, “In varying degrees Sparta, Corinth, Thebes, Athens and the other city-states differed from one another in political, social, and economic structure, and it is only reasonable to assume that they also differed in some extent in their religion … One should be wary of assuming that a religious belief or practice must have been current in all the city-states and among all Greek simply because it is attested for one city-state.” 2 Apollo is generally remembered as the god of prophecy because of his oracle and cult in Delphi.
    [Show full text]
  • Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 108 CONGRESS, FIRST SESSION
    E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 108 CONGRESS, FIRST SESSION Vol. 149 WASHINGTON, FRIDAY, AUGUST 1, 2003 No. 117 House of Representatives The House was not in session today. Its next meeting will be held on Wednesday, September 3, 2003, at 2 p.m. Senate FRIDAY, AUGUST 1, 2003 (Legislative day of Monday, July 21, 2003) The Senate met at 9:30 a.m., on the SCHEDULE at about this time—in fact, exactly expiration of the recess, and was called Mr. FRIST. Mr. President, this morn- this time—the odds of completing this to order by the President pro tempore ing the Senate will be in a period for bill, in most people’s minds, was very (Mr. STEVENS). morning business in order that Sen- narrow. Yet both sides of the aisle ators may speak and have an oppor- working together developed an ap- PRAYER tunity to introduce legislation. There proach with which I think everybody is The Chaplain, Dr. Barry C. Black, of- will be no rollcall votes during today’s pleased. It is the important next step fered the following prayer: session. When the Senate completes its in developing a bill that I am confident Let us pray. business today, we will adjourn for the the President will be able to sign short- Eternal Lord God, who is the ‘‘Rock August break. of Ages,’’ You are our shield, and we Today, in addition to Member state- ly after we deliver it to him as a final find refuge in You.
    [Show full text]
  • Mythology in Poetry
    Mythology in AP Poetry Andromeda sorrowing father was close at hand, and her mother too. They were Andromeda was the princess of Ethiopia, daughter of Cepheus and both in deep distress, though the mother had more cause to be so Cassiopeia. Cassiopeia was a boastful woman, and foolishly bragged (Metamorphoses IV 674-692) Perseus said to her parents that he that she was more beautiful than Juno, the queen of the gods, and the would kill the monster if they agree to give him their daughter's hand Nereids. In order to avenge the insult to his nymphs, Neptune sent a in marriage. They of course gave their consent, and Perseus killed the sea monster to ravage the Ethiopian coast. (Some accounts state that monster. (His exact method of doing so varies in different versions of the constellation Cetus represents the sea monster, but a more the myth. Ovid has Perseus stab the monster to death after a drawn- common view of Cetus is that he is a peaceful whale.) out, bloody battle, while other versions have the hero simply hold up the head of Medusa, turning the monster to stone.) Andromeda was The horrified king consulted Ammon, the oracle of Jupiter, who said freed, and the two joyously marry. that Neptune could be appeased only by sacrificing Cassiopeia's *Andromeda is represented in the sky as the figure of a woman with beautiful virgin daughter, Andromeda, to the monster. Andromeda her arms outstretched and chained at the wrists. was duly chained to a rock on the coast, fully exposed to the monster.
    [Show full text]