DOCSLIB.ORG

Exhibition by Louise Manzon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibition by Louise Manzon beyond Exhibition by Louise Manzon Advantage Première Art Fund beyond presents Louise Manzon’s exhibition Beyond, held in New The project York City at Gallery 61 at the New York Institute of Technology (NYIT). In the exhibition, the artist expands on one of her most creative themes: the archetypes of Greek mythology. Manzon’s work explores various aspects of these classic symbols, including the female figure and its role as the watchful guardian of life’s secrets, sea creatures, the vitality of natural environments, and the perils that threaten those creatures and the hope for their preservation. Curator: Jennifer Mitchell-Nevin Gallery 61 New York Institute of Technology 16 West 61st Street 11th floor New York From April 12th to June 3rd 2016 Introduction NYIT and the School of Architecture Her personal exhibitions in 2015 and Design, in conjunction with included Rust, at the Fondazione Advantage Premiere Art Fund, in Cini in Venice, Italy and Personal New York and Milan, are pleased Structures-Crossing Borders, to host the artist Louise Manzon hosted by the European Cultural and introduce her unique, artistic Centre at the Palazzo Mora in body of work to the community. conjunction with the 2015 Venice Biennale. In 2015 she was invited Message in the Bubble, Rust, to exhibit her work, Dialogus as a Personal Structures-Crossing part of the special program Death Borders, Dialogus, and now, in Venice at the Sixth Moscow Beyond identify Manzon’s Biennale of Contemporary Art. exhibitions and allude to all of the Beyond, the exhibition NYIT essential attributes which is hosting, is her first major show characterize her art. In 2014 she in North America. created a site installation at the historic Villa Necchi Campiglio, I first met Manzon, at a special in Milan, Italy. The exhibition event in Monaco. Those of us Message in the Bubble, highlighted gathered all had a common goal: her incredible virtuosity with form to celebrate mutual acquaintances. and theme through her highly As the festivities were coming to original and magically created an end, she came forward with a environment for ceramic sea translucent-like box. With creatures ‘swimming’ above the out-stretched arms, she handed pool in the Villa’s formal gardens. the box over to the guests of honor. The box was opened and the female figure that emerged was so exquisite and beautiful that I had to catch my breath. It was the beauty of it, not only its fineness and figural quality, but also its abstractedness that caught me off guard and alerted me to take close notice. The female figure was created from clay sediment, and then transformed into glazed ceramic with a most confident, textured color palette; it was the work of an artist in command of her media. Proto Nereid Glazed ceramic, cement, natural pigment h. 51 cm / h. 20 1/8 in. Speio Nereid Glazed ceramic, metal mesh, natural pigment h. 58 cm h. 23 in. The renowned architect John What I came to realize about her Galatea Hejduk, former dean of The Cooper themes, the archetypes of Greek Nereid Ceramic, cement, Union’s School of Architecture, mythology; the female figure; natural pigment told me that one always knows aquatic creatures; and her h. 58 cm/ 22 3/4 in. when they are in the presence of materials of choice is that they all true works of art and creation, belong to or are an assemblage «because without control or of the four elements: earth, water, thought, you gasp.» I gasped when air and, of course, fire--the kiln of I saw Manzon’s work, and I knew intense heat that dazzles. I needed to know more about As an architect and educator Manzon and her art. with a highly developed visual Manzon was born in Brazil, and sensibility, and an in-depth spent her formative years in the knowledge of architecture and art United States and Europe. history, I am often called upon as She received her master’s degree an “expert witness” to evaluate in Industrial Design from Pratt formal compositions. This explains, Institute. Her father was the in part, my intensity when renowned photographer and film considering Manzon’s art. Whether maker, Jean Manzon (1915-1990). one is aware of her themes or not, Manzon’s exposure to her father’s her compositional sense and her art, most certainly, played a part ability to transform the earth into in the refinement of eye, hand and exquisite three-dimensional mind that her artistic creations ceramic figurations is phenomenal. disclose. Her sensibility goes The aquatic creatures are full, fluid beyond what one sees before them. and slippery. They pulse with life. It demonstrates an inner passion They glisten as if wet. and commitment to the natural environment from whence her subjects derive, and remind us to preserve and sustain our precious environment. Bengala Indian Ocean Glazed ceramic Her female figures, which dominate Special thanks goes to Jennifer Dynamene the exhibition space, have robes Mitchell-Nevin, NYIT School of Nereid Glazed ceramic, metal that seem to flow and billow in the Architecture and Design’s events mesh, natural pigment wind. Her subjects, especially the co-ordinator and curator for h. 74 cm/ 29 1/8 in. sea creatures, are formally sensual Gallery 61, and Nancy Donner, in composition; the fish, undulate Vice President of Communications and move, and the females swirl and Marketing. and twist upwards with diagonal On the other side of the Atlantic, movement, as if freeing themselves I must thank Francesco Confuorti, from their flowing garments. Her founder of Advantage Premiere Art mixture of materials; mesh, stucco Fund and President of Advantage and cement mixed with pigments, Financial, for his generosity to both along with glazes highlighted NYIT’s School of Architecture and with paint, result in a tactile, Design and Beyond, which is an sumptuousness of color that dazzle exhibition of work that exemplifies and surprise. Indeed, she possesses his commitment to environmental an eye for both beauty and form sustainability. We would like of the highest order. to thank Rosy Iannone for her It is my honor to host Manzon, patience and help with this project. her art, her artistic message, and Finally, I would like to thank the her message of concern. NYIT Board of Trustees and NYIT President Edward Guiliano, Ph.D., for creating NYIT’s extraordinary and interdisciplinary milieu that makes all this possible. Thank you, Judith DiMaio, FAIA Dean, School of Architecture and Design, NYIT April 2016 Doto I have always looked at sculptors But music is immaterial, while Nereid Presentation with envy because there are not sculpture is the art form that is the Ceramic, cement, natural pigment very many of them and I would most material, the most concrete. h. 67 cm/ 26 1/2 in. have wanted their same talent! Sculptures are placed in parks, squares, gardens, churches, Why? Because sculpture is an museums, palaces, confident of extremely physical art in terms living through the centuries and of the artist who creates it, ravages of time, albeit perhaps the materials that are usually used, with some event as occurs when a and for the end result. tyrant is killed or when sculptures There is a vitality and a movement suffer damage like the Samothrace in sculpture that in a certain sense now in the Louvre. She has lost can also be found in music. her head, but not her wings. So, gazing at some of the marine forms, some of the fish, they make me think of Balla’s speed. It occurs to me that Louise Manzon’s work is a pearl that belongs to the long string of pearls that is sculpture. A Brazilian artist, who has experienced North America and the works of Louise Nevelson, who has known Paris and the works of Camille Claudel and Rodin, who looked upon the works of Brancusi and Moore, has been able to find her own materials and turn them into voluptuous, restless forms that seem to want to flee, to break through, to look for the light. But the sculptures can not escape Moluche because they are immobile, and Pacific Ocean Glazed ceramic therefore it is fascinating that the artist knows how to give them a Alboran sense, the illusion of movement, by Mediterranean Sea using forms she models in Glazed ceramic materials that are sometimes rough and difficult to shape. I enjoy imagining an initial sketch, and then the transition to the transformation of the material in its form. Louise Manzon has her recognizable cipher that is carried along with faded memory, the memory of those who came before her. Calder worked with wire and colorful metal plates inspired by the works of Mondrian and he was able to reproduce the world of the circus that so fascinated him. Giacometti invented those slender a strong desire to live, to breathe bodies that were inspired by the fresh air of the early morning primitive totems. That same and feel happiness of what is newly primitive art was to inspire found, a fabulous unknown that sculptors like Brancusi and her fish look at with eyes wide painters like Picasso – who also open. Her forms to some seem tried his hand at sculpture. Baroque; to me they call to mind futurists such as Balla or Medardo Louise Manzon is not intimidated Rosso. But the colors produced by her illustrious predecessors by the artist bring us back to an because she has her own poetic older, submerged world. They are world and creates its forms in the colors of the vases found on the green, red, blue, fish or in the seabed or the chains and anchors depiction of a young blonde girl of the galleons sunk by pirates.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Provided by the Internet Classics Archive. See Bottom for Copyright
    Provided by The Internet Classics Archive. See bottom for copyright. Available online at http://classics.mit.edu//Homer/iliad.html The Iliad By Homer Translated by Samuel Butler ---------------------------------------------------------------------- BOOK I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant's wreath and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. "Sons of Atreus," he cried, "and all other Achaeans, may the gods who dwell in Olympus grant you to sack the city of Priam, and to reach your homes in safety; but free my daughter, and accept a ransom for her, in reverence to Apollo, son of Jove." On this the rest of the Achaeans with one voice were for respecting the priest and taking the ransom that he offered; but not so Agamemnon, who spoke fiercely to him and sent him roughly away.
    [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]
  • Epic Anger, and the State of the (Roman) Soul in Virgil's First Simile1
    Epic Anger, and the State of the (Roman) Soul in Virgil’s First Simile1 Kirk Freudenburg Yale University Virgil’s Aeneid begins with the goddess, Juno, both ‘still’ and ‘already’ angry: mene incepto desistere victam? ‘Am I to desist from what I’ve begun, beaten?’ Rivers of Trojan blood have been spilt, and Priam’s city has been looted and leveled. Extreme revenge has been exacted in the form of retaliatory rapes, forced enslavements, and so on. And yet somehow Juno thinks that her project of paying back the Trojans is not only not f nished, but only just begun. T e famous, translinguistic pun that issues from her f rst words (mene incepto) reminds us of Achilles’ rage, certainly, but by the Iliad’s end Achilles has gained some 1 T is paper is a heuristic ‘f rst go’ at an idea that I have been mulling over for years, on the problem of anger in ancient epic, and the soul work of Virgil’s f rst simile. Since I plan to do a larger workup of these ideas for a (distantly) forthcoming book, I will be more than happy to receive feedback on the paper’s contents and arguments. T e paper’s core ideas were tested at the annual Latin Day Colloquium held at Yale University on April 16, 2016. For helpful com- ments and criticisms, I wish to thank the day’s star and colloquium leader, Denis Feeney, as well as the event’s invited speakers, Jay Reed, Tom Biggs, and Irene Peirano. T anks also to Christina Kraus for organizing the event, and to the group of graduate respondents who were active participants throughout the day: Niek Janssen, Rachel Love, Kyle Conrau-Lewis, and Treasa Bell.
    [Show full text]
  • 1997 Njcl Certamen Upper Division Round One - (Revised Draft)
    1997 NJCL CERTAMEN UPPER DIVISION ROUND ONE - (REVISED DRAFT) 1. Make the present participle of micÇ, mic~re agree with the noun marmor. MIC}NS Change marmor mic~ns to accusative. MARMOR MIC}NS Change marmor mic~ns to plural. MARMORA MICANTIA 2. Differentiate in meaning between faber and faba. FABER -- CRAFTSMAN, SMITH FABA -- BEAN . f~num and faenum. F}NUM -- SHRINE, TEMPLE FAENUM -- HAY . far and f~r§. FAR -- GRAIN, SPELT, GRITS F}R¦ -- SPEAK 3. Which writer of Latin comedy was probably a native of Carthage? (PUBLIUS) TERENCE (or TERENTIUS AFER) Terence came to Rome as a slave. Who became his literary patron? SCIPIO AEMILIANUS What was Terence’s title for his comedy about two brothers, one raised in the country, the other in the city? ADELPHOI / ADELPHI / ADELPHOE 4. In Book I of Vergil’s Aeneid, who calms the storm that has wrecked the fleet of Aeneas? NEPTUNE After Neptune calms the water, two minor sea deities dislodge the ships from jagged crags. For five points each, name them. TRITON / CYMOTHOE 5. What two Latin words with what meanings combine to form the Latin word l~tifundium? L}TUS -- BROAD, WIDE + FUNDUS -- FARM, ESTATE, BOTTOM, FOUNDATION . cornicen? CORNâ -- HORN + CANERE -- SING, PLAY (INSTRUMENT) . carnifex? CARÆ -- FLESH + FACERE -- DO, MAKE 6. As its name tells us, which Roman king is credited with the building of the first Senate House or curia? TULLUS HOSTILIUS (Curia Hostilia) What Latin city was destroyed and its inhabitants moved to Rome by Hostilius? ALBA LONGA Who, according to tradition, was the founder of Alba Longa? ASCANIUS / IULUS 7.
    [Show full text]
  • 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
    [Show full text]
  • What Is Greek About Greek Mythology?
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 4 | 1991 Varia What is Greek about Greek Mythology? David Konstan Electronic version URL: http://journals.openedition.org/kernos/280 DOI: 10.4000/kernos.280 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1991 Number of pages: 11-30 ISSN: 0776-3824 Electronic reference David Konstan, « What is Greek about Greek Mythology? », Kernos [Online], 4 | 1991, Online since 11 March 2011, connection on 01 May 2019. URL : http://journals.openedition.org/kernos/280 ; DOI : 10.4000/kernos.280 Kernos Kernos, 4 (1991), p. 11-30. WHAT IS GREEK ABOUT GREEK MYTHOLOGY? The paper that follows began as a lecture, in which 1 attempted to set out for a group of college teachers what was specifie to Greek mythology, as opposed to the mythologies of other peoples1. Of course, there is no single trait that is unique to Greek myths. But there are several characteristics of Greek mythology that are, despite the intense attention it has received for decades and even centuries, still not commonly noticed in the scholarly literature, and which, taken together, contribute to its particular nature. By the device of contrasting with Greek myths a single narrative from a very different society, 1 thought that 1 might set in relief certain features that have by and large been overlooked, in part precisely because they are so familiar as to seem perfectly natural. My survey of the characteristics of Greek mythology, needless to say, makes no pretense to being exhaustive.
    [Show full text]
  • A Reader in Comparative Indo-European Religion
    2018 A READER IN COMPARATIVE INDO-EUROPEAN RELIGION Ranko Matasović Zagreb 2018 © This publication is intended primarily for the use of students of the University of Zagreb. It should not be copied or otherwise reproduced without a permission from the author. TABLE OF CONTENTS Abbreviations........................................................................................................................ Foreword............................................................................................................................... PART 1: Elements of the Proto-Indo-European religion...................................................... 1. Reconstruction of PIE religious vocabulary and phraseology................................... 2. Basic Religious terminology of PIE.......................................................................... 3. Elements of PIE mythology....................................................................................... PART II: A selection of texts Hittite....................................................................................................................................... Vedic........................................................................................................................................ Iranian....................................................................................................................................... Greek.......................................................................................................................................
    [Show full text]
  • Collection of Hesiod Homer and Homerica
    COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr.
    [Show full text]
  • The Remains of Hesiod the Arcraean, Including the Shield of Hercules
    i'iii»iiiiii^iiii,tii^^^ '^THE REMAINS OF HESIOD THE ASCRiEAN INCLUDING €fjc M)icili of l^erailf^, TRASSLATED INTO ENGLISH RHYME AND BLANK-VERSE; WITH A DISSERTATION ON THE LIFE AND iERA, THE POEMS AND MYTHOLOGY, OF HESIOD, AND COPIOUS NOTES. \ ^ THE SECOND EDITION, ^ BEVISED AND ENLARGED ^ BY CHARLES ABRAHAM ELTON, AOrnOR OF SPECIMENS OF THE CLASSIC POETS FHOM HOMES TO TRTPtHODORUS. 'O wpsV^uf xfl9apotv yivtrdf^iva; "KiBa^mv.—AAKAIOI, LONDON: PUINTED FOR BALDWIN, CRADOCBk, AND JOY, 47 PATERNOSTER.ROW. 1815. pfi UOIO C. Halriwin, Punter, Nffw Briilac'-sircet. London. l:l PREFACE. J. HE remains of Hesiod are not alone interesting to the antiquary, as tracing a picture of the rude arts and manners of the ancient Greeks. His sublime viewa of a retri- philosophic allegories ; his elevated butive Providence and the romantic or ; elegance, daring grandeur, with which he has invested the legends of his mytholog}', offer more solid reasons than the accident of coeval existence for the tradi- tional association of his name with that of Homer. Hesiod has been translated in Latin hexameters by Nicolaus Valla, and by Bernardo Zamagna. A French translation by Jacques le Gras bears date 1586. The earliest essay on his poems by our owni " countrymen appears in the old racy version of Tlie Works and Days," by George Chapman, the trans- lator of Homer, published in 1618. It is so scarce that " " Warton in The History of English Poetry doubts SI 2 IV PREFACE. its existence. Some specimens of a work equally curi- ous fioni its rareness, and interesting as an example of our ancient poetry, are appended to this translation.
    [Show full text]
  • 119 Summer 2006
    ISSN 1478-0186 1 The Charles Williams Quarterly No. 119 Summer 2006 CW Quarterly www.geocities.com/charles_wms_socThe Charles Williams Quarterly 2 THE SOCIETY The Charles Williams Society The Society was founded in 1975, thirty years after Charles Williams’s sudden death at the end of the Second World War. It exists to celebrate Charles Wil- liams and to provide a forum for the exchange of views and information about his life and work. Members of the Society receive a quarterly magazine and may attend the Society’s meetings which are held twice a year. Facilities for members also in- clude a postal lending library and a reference library housed at The Centre for Medieval Studies in Oxford. Officers of the Society President: John Heath-Stubbs OBE Chairman: Librarian: Dr Brian Horne Dr Brian Horne Flat 8, 65 Cadogan Gardens Flat 8, 65 Cadogan Gardens London, SW3 2RA London, SW3 2RA 020 7581 9917 020 7581 9917 [email protected] [email protected] Secretary: Membership Secretary: Revd Dr Richard Sturch Revd Dr Richard Sturch 35 Broomfield (temporary) Stacey Bushes Milton Keynes MK12 6HA 01908 316779 [email protected] CW Quarterly Editor: Treasurer: Mr Edward Gauntlett Mr Stephen Barber 21 Downsway, Greystones Whyteleafe Lawton Avenue, Carterton Surrey, CR3 0EW Oxon OX18 3JY 020 8660 1402 [email protected] 01993 841219 ste- [email protected] Summer 2006 THE CHARLES WILLIAMS QUARTERLY 3 Contents Charles Williams Quarterly No. 119 Summer 2006 Officers of the Society 2 Reading Groups 3 From the Editor 4 Society News & Notes 5 Forthcoming Meetings 7 Council Meeting Report 8 Report on the Spring Conference 10 Williams and the Sea-Nymph Stephen Barber 12 Letters 17 Kings Came Riding Charles Williams 18 Editorial Policy and Copyright 19 Reading groups For information about the Oxford reading group please contact Brenda Boughton, tel: 01865 515589.
    [Show full text]
  • Atlas (Mythology) from Wikipedia, the Free Encyclopedia
    AAttllaas ((mmyytthhoollooggyy) - WWiikkiippeeddiiaa, tthhe ffrreee eennccyyccllooppeeddiiaa hhttttpp::////eenn..wwiikkiippeeddiiaa..oorrgg//wwiikkii//AAttllaass__((mmyytthhoollooggyy)) Atlas (mythology) From Wikipedia, the free encyclopedia InIn Greek mythologygy,, Atlas (/ˈætləs/; Ancient Greek: Ἄτλας) was the primordial Titan who held up thehe celestialal Atlas spheres. He is also the titan of astronomy and navigation. Although associated with various places, he became commonly identified with the Atlas Mountains in northwest Africa (Modern-day Morocco, Algeria and Tunisia).[1][1] Atlas was the son of the Titanan Iapetus and the Oceanidd Asiaa[2][2] or or ClClymene..[3][3] In contexts where a Titan and a Titaness are assigned each of the seven planetary powers, Atlas is paired with Phoebe and governs the moon..[4][4] Hyginus emphasises the primordial nature of Atlas by making him the son of Aether andd Gaia.a.[5][5] The first part of the term Atlantic Ocean refers to "Sea of Atlas", the term Atlantis refers to "island of Atlas". Titan of Astronomy Abode WWestern edge ofof Gaia (thethe Earth)) Contents Symbol Globe 11 EtEtymolologygy Parents Iapetus and Asia or Clymenee 22 Puninishmenentt Children Hesperides,s, Hyades,s, Hyas, Pleiades, Calypso,so, Dione and 2.1 VVariations Maera 33 Encounter with Heracleses Roman equivalent Atlas 44 Etruscan Arill 55 Chilildrdrenen 66 Cultural influencece 77 SeSee alalsoso 88 NNototeses 99 References 1010 External linkss Etymology The etymology of the name Atlas is uncertain. Virgil took pleasure in translating etymologies of Greek names by combining them with adjectives that explained them: for Atlas his adjective is durus, "hard, enduring",[6][6] which suggested to George Doig[7][7] that Virgil was aware of the Greek τλῆναι "to endure"; Doig offers the further possibility that Virgil was aware of Strabo’s remark that the native North African name for this mountain was Douris.
    [Show full text]