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Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article. -
MTG-Pl Documentation Release 0.10.1B
MTG-pl Documentation Release 0.10.1b Dominik Kozaczko & strefa-gry.pl Nov 12, 2018 Contents 1 Instrukcje 1 2 Tłumaczenie dodatków 3 2.1 Standard...............................................3 2.2 Modern................................................3 2.3 Pozostałe...............................................4 2.4 Specjalne karty............................................4 3 Warto przeczytac´ 5 4 Ostatnie zmiany 7 5 Ekipa 9 5.1 Origins................................................9 5.2 Battle for Zendikar.......................................... 25 5.3 Dragons of Tarkir........................................... 41 5.4 Uzasadnienie tłumaczen´....................................... 57 5.5 Innistrad............................................... 58 5.6 Dark Ascension........................................... 73 5.7 Avacyn Restored........................................... 83 5.8 Magic the Gathering - Basic Rulebook............................... 95 5.9 Return to Ravnica.......................................... 122 5.10 Gatecrash............................................... 136 5.11 Dragon’s Maze............................................ 150 5.12 Magic 2014 Core Set......................................... 159 5.13 Theros................................................ 171 5.14 Heroes of Theros........................................... 185 5.15 Face the Hydra!........................................... 187 5.16 Commander 2013.......................................... 188 5.17 Battle the Horde!.......................................... -
(Eponymous) Heroes
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot. -
Epigraphic Bulletin for Greek Religion 1996
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 12 | 1999 Varia Epigraphic Bulletin for Greek Religion 1996 Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou Electronic version URL: http://journals.openedition.org/kernos/724 DOI: 10.4000/kernos.724 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1999 Number of pages: 207-292 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou, « Epigraphic Bulletin for Greek Religion 1996 », Kernos [Online], 12 | 1999, Online since 13 April 2011, connection on 15 September 2020. URL : http://journals.openedition.org/kernos/724 Kernos Kemos, 12 (1999), p. 207-292. Epigtoaphic Bulletin for Greek Religion 1996 (EBGR 1996) The ninth issue of the BEGR contains only part of the epigraphie harvest of 1996; unforeseen circumstances have prevented me and my collaborators from covering all the publications of 1996, but we hope to close the gaps next year. We have also made several additions to previous issues. In the past years the BEGR had often summarized publications which were not primarily of epigraphie nature, thus tending to expand into an unavoidably incomplete bibliography of Greek religion. From this issue on we return to the original scope of this bulletin, whieh is to provide information on new epigraphie finds, new interpretations of inscriptions, epigraphieal corpora, and studies based p;imarily on the epigraphie material. Only if we focus on these types of books and articles, will we be able to present the newpublications without delays and, hopefully, without too many omissions. -
The Adorabyssal Oracle
THE ADORABYSSAL ORACLE The Adorabyssal Oracle is an oracle deck featuring the cutest versions of mythological, supernatural, and cryptozoological creatures from around the world! Thirty-six spooky cuties come with associated elements and themes to help bring some introspection to your day-to-day divinations and meditations. If you’re looking for something a bit more playful, The Adorabyssal Oracle deck doubles as a card game featuring those same cute and spooky creatures. It is meant for 2-4 players and games typically take 5-10 minutes. If you’re interested mainly in the card game rules, you can skip past the next couple of sections. However you choose to use your Adorabyssal Deck, it is my hope that these darkly delightful creatures will bring some fun to your day! WHAT IS AN ORACLE DECK? An Oracle deck is similar to, but different from, a Tarot deck. Where a Tarot deck has specific symbolism, number of cards, and a distinct way of interpreting card meanings, Oracle decks are a bit more free-form and their structures are dependent on their creators. The Adorabyssal Oracle, like many oracle decks, provides general themes accompanying the artwork. The basic and most prominent structure for this deck is the grouping of cards based on elemental associations. My hope is that this deck can provide a simple way to read for new readers and grow in complexity from there. My previous Tarot decks have seen very specific interpretation and symbolism. This Oracle deck opens things up a bit. It can be used for more general or free-form readings, and it makes a delightful addition to your existing decks. -
The Odd Thesmophoria of Aristophanes' Thesmophoriazusae Habash, Martha Greek, Roman and Byzantine Studies; Spring 1997; 38, 1; Proquest Pg
The odd Thesmophoria of Aristophanes' Thesmophoriazusae Habash, Martha Greek, Roman and Byzantine Studies; Spring 1997; 38, 1; ProQuest pg. 19 The Odd Thesmophoria of Aristophanes' Thesmophoriaz usae Martha Habash EXPECTED FROM THE TITLE, Aristophanes' Thesmophoria zusae does in fact concern the Thesmophoria, that A:. annual, secret women's festival of Demeter and Kore held thoughout the Greek world. From line 277 the play is set at a Thesmophoria, but a very odd Thesmophoria, in which the poet demonstrates his bold, inventive, and creative genius at work in reshaping this 'festival'.1 Aristophanes employs suf ficient elements of the real Thesmophoria to make the pro ceedings recognizable, but he also adds as major components several non-Thesmophoric elements, introduced in part for sheer comic effect, and in part, I shall argue, to shape his Thes mophoria and his play into a form more arpropriate to the civic and religious purposes and atmosphere 0 the festival in which it was presented, the City Dionysia.2 I For studies of the poet's presentation of genuine Thesmophoric elements and themes, see H. Hansen, U Aristophanes' Thesmophoriazusae: Theme, Struc ture, and Production," Philologus 120 (1976) 165-85; A. Bowie, Aristophanes: Myth, Ritual and Comedy (Cambridge 1993); the role of mimesis in this play: F. Zeitlin, uTravesties of Gender and Genre in Aristophanes' Thesmo phoriazousae, " in H. Foley, ed., Reflections of Women in Antiquity (New York 1981) 169-217; M. DETIENNE, MThe Violence of Wellborn Ladies: Women in the Thesmophoria," in M. Detienne and J.-P. Vernant. edd., The Cuisine of Sacrifice among the Greeks, tr. -
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. -
Ntral Railroad
: •-.- ,: . nor .Vrranprmfnil 356, - , utral Railroad I . Mpta/irao! "Uajruo. iJuolii.iiB, .,„. - „ . , .. nte Irnitih arirt ilir"ttfh Iff. »., . ' . .. 'r^&jJR i f|. ring uitqtinletl f«i UIIIM -.* i itoraT*w Ji.|»»y, PfaWeHr.jwaj; je;l«M •».( VUKlnla. fluww H •. - . • jt.tilav Wifl'fli.jHi'ti ne^fnl atsil We.tn. ii , i.. I'.alnmurr am. Uhit '•'•>',», . • ' ', ~,•i j, s. * n.:«. |l (Vni.«iOr,h>.l.HileMtaai»v.v'l niUH.KSTO\VX, JEfFERSON COUXTY, VIRGINIA, nil, a <'rnlt«l Ibrt'Mh IB. ,>.•'., I Itwie IP Tana on ,| l |,.,. i tin. trad the 25,. 1856. ll,,!,,! w.., ,. 11,.,-Milatd » - ~ I-AIMMIIIC NUNTIMHMTit. n. \v. m;ititi;uB, BALTIMORE LOCK HOSPITAL. Kn'inM™ TiUri'it Mfrr riign, innu.il of «n« POLJTIGAL ,,,'mV., ,,,.,.„»..„ In all POETRX. rtng-t* hin lirt-ii ii'ii.l m loob ormifonl Tha Killmor's an.l Donabon Ol»»nrf HPott- hranchr* of IKe In.nranci* Ro«ln^«n anil I. tor. Joiiruioti* jiratiuo Itct .press Upou llio'ihroe Bri.t tilts the nmnlt WM, I- •, I I, .>..!,< VI.IH1I -•-. LIFE, AND PIIIK IN8UB- lEIl OP THIS ORUCtmATED laurf, KT , rrcentl) trrsl'J » tron undom- . l i n-.'i.i-it. i> «;...nt,i . A; In nttjr «ninunl» n,put. 4. in Hi.. 11.ml,,1,1 tffft* i\\f mn«i Certain, Hfw«0jr, thil Mr. J. I! lltnotm, nf (M.nl.f, •* p»)« in honur of thrlr c»n<JiJ«»'» 1'reri- •iid oolr effectual ttnrAy In I h* wot til for »T I* P" AT1I T «« II CUT. I'rr.ljeutuf t^e,.Amer- PVfNiM-i «**>;*• ''Tmif^rg'fyi *•*"•* -*•.» , ,,„.,. -
Silencing the Female Voice in Longus and Achilles Tatius
Silencing the female voice in Longus and Achilles Tatius Word Count: 12,904 Exam Number: B052116 Classical Studies MA (Hons) School of History, Classics and Archaeology University of Edinburgh B052116 Acknowledgments I am indebted to the brilliant Dr Calum Maciver, whose passion for these novels is continually inspiring. Thank you for your incredible supervision and patience. I’d also like to thank Dr Donncha O’Rourke for his advice and boundless encouragement. My warmest thanks to Sekheena and Emily for their assistance in proofreading this paper. To my fantastic circle of Classics girls, thank you for your companionship and humour. Thanks to my parents for their love and support. To Ben, for giving me strength and light. And finally, to the Edinburgh University Classics Department, for a truly rewarding four years. 1 B052116 Table of Contents Acknowledgments………………………………………………………………………….1 List of Abbreviations………………………………………………………………………3 Introduction ……………………………………………………………………………….4 Chapter 1: Through the Male Lens………………………………………………………6 The Aftertaste of Sophrosune……………………………………………………………….6 Male Viewers and Voyeuristic Fantasy.…………………………………………………....8 Narratorial Manipulation of Perspective………………………………………………….11 Chapter 2: The Mythic Hush…………………………………………………………….15 Echoing Violence in Longus……………………………………………………………….16 Making a myth out of Chloe………………………………………………………………..19 Leucippe and Europa: introducing the mythic parallel……………………………………21 Andromeda, Philomela and Procne: shifting perspectives………………………………...22 Chapter 3: Rupturing the -
Philhellenism and Orientalism in Germany Suzanne Marchand
Philhellenism and Orientalism in Germany Suzanne Marchand Introduction. The divergence of the disciplines Most readers of Lynchos will probably know something about the history of classical scholarship, and, understandably, regard the period of post- 1790 secularization and specialization as one of great progress. That it was, in many respects; the sharpening of text-critical skills and the driving out of wild speculations and politicized argumentation did indeed lay the foundations for the professionalization of classical scholarship, especially in the university-rich territory of German-speaking central (and especially northern) Europe. But a great part of this professionalizing process – and one under-reported in such classic accounts as Ulrich von Wilamowitz- Moellendorff’s History of classical scholarship (1921) – also entailed the closing of some doors.1 Most obviously being slammed shut were the passageways that once allowed scholars to wander between classics, theo- logy, and the study of the ancient Near East; and as classics and classicists increasingly claimed one set of rooms in the house of ancient history for themselves, they compelled others, too, to adapt to new accommodations. That accommodation is by no means so well-known a story; in part this is the result of the way in which the history of nineteenth-century orien- talist scholarship, too, fails to recognize not only the deep roots of the discipline but also its ongoing focus on the ancient world, and long-lasting classics-envy.2 It is my contention that one gets a much richer and better picture of changes in the disciplinary landscape and the significance of the disciplinary divergences that began around 1790 by recognizing that Orientalistik was, like classics, a child of Christian humanism; it was, importantly, the sibling left to tend the cavernous old house when the classicists remodeled their rooms and locked the doors. -
The Chronicle of Novgorod 1016-1471
- THE CHRONICLE OF NOVGOROD 1016-1471 TRANSLATED FROM THE RUSSIAN BY ROBERT ,MICHELL AND NEVILL FORBES, Ph.D. Reader in Russian in the University of Oxford WITH AN INTRODUCTION BY C. RAYMOND BEAZLEY, D.Litt. Professor of Modern History in the University of Birmingham AND AN ACCOUNT OF THE TEXT BY A. A. SHAKHMATOV Professor in the University of St. Petersburg CAMDEN’THIRD SERIES I VOL. xxv LONDON OFFICES OF THE SOCIETY 6 63 7 SOUTH SQUARE GRAY’S INN, W.C. 1914 _. -- . .-’ ._ . .e. ._ ‘- -v‘. TABLE OF CONTENTS PAGE General Introduction (and Notes to Introduction) . vii-xxxvi Account of the Text . xxx%-xli Lists of Titles, Technical terms, etc. xlii-xliii The Chronicle . I-zzo Appendix . 221 tJlxon the Bibliography . 223-4 . 225-37 GENERAL INTRODUCTION I. THE REPUBLIC OF NOVGOROD (‘ LORD NOVGOROD THE GREAT," Gospodin Velikii Novgorod, as it once called itself, is the starting-point of Russian history. It is also without a rival among the Russian city-states of the Middle Ages. Kiev and Moscow are greater in political importance, especially in the earliest and latest mediaeval times-before the Second Crusade and after the fall of Constantinople-but no Russian town of any age has the same individuality and self-sufficiency, the same sturdy republican independence, activity, and success. Who can stand against God and the Great Novgorod ?-Kto protiv Boga i Velikago Novgoroda .J-was the famous proverbial expression of this self-sufficiency and success. From the beginning of the Crusading Age to the fall of the Byzantine Empire Novgorod is unique among Russian cities, not only for its population, its commerce, and its citizen army (assuring it almost complete freedom from external domination even in the Mongol Age), but also as controlling an empire, or sphere of influence, extending over the far North from Lapland to the Urals and the Ob. -
A Study of Female Agency in the Homeric Hymn to Demeter Through Word and Illustration
A Study of Female Agency in The Homeric Hymn to Demeter through Word and Illustration Virginia Gan Shi White Submitted in Partial Fulfillment of the Prerequisite for Honors in The Classical Studies Department under the advisement of Catherine Gilhuly April 2017 © 2017 Virginia White 1 Acknowledgements I would like to thank Professor Gilhuly for all her support and guidance, without her this project would not have been possible. Also thank you to Professor McGibbon for teaching me so much about printmaking and for always pushing me artistically. 2 Introduction This project came out of finding a way to combine Studio Art with Classical Studies. As someone who has always been interested in storyboards, mapping art onto myth over a series of panels was a logical choice. I decided to take an ancient Greek story, analyze it, and then make illustrations. This project on The Homeric Hymn to Demeter is therefore broken into three parts: Part I – English Translation of The Homeric Hymn to Demeter Part II – The Influence of a Mother in The Homeric Hymn to Demeter Part III – A Visual Translation of The Homeric Hymn to Demeter By first doing a close reading of the myth, in the original Greek, I could extract a more nuanced understanding of what the myth said. I then chose to focus on Demeter’s agency which revolved around her role as a mother and her defiance against her husband, motivated by the love of her daughter. Finally, everything that I learned was filtered into a printmaking project. The goal of my illustrations was to represent the theories explored in Part I but also bring a new understanding to the myth that could only be achieved through image.