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Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
The Titanic Origin of Humans: the Melian Nymphs and Zagreus Velvet Yates
The Titanic Origin of Humans: The Melian Nymphs and Zagreus Velvet Yates HE FIRST PART of this paper examines a minor mystery in Hesiod’s Theogony, centering around the Melian Nymphs, Tin order to assess the suggestions, both ancient and modern, that the Melian Nymphs were the mothers of the human race. The second part examines the afterlife of Hesiod’s Melian Nymphs over a thousand years later, in the allegorizing myths of late Neoplatonism, in order to suggest that the Hesiodic myth in which the Melian Nymphs primarily figure, namely the castration of Ouranos, has close similarities to a central Neoplatonic myth, that of Zagreus. Both myths depict a “Titanic” act of destruction and separation which leads to the birth of the human race. Both myths furthermore seek to account for a divine element which human nature retains from its origins. The Melian Nymphs in Hesiod ˜ssai går =ayãmiggew ép°ssuyen aflmatÒessai, pãsaw d°jato Ga›a: periplom°nou d' §niautoË ge¤nat' ÉErinËw te krateråw megãlouw te G¤gantaw, teÊxesi lampom°nouw, dol¤x' ¶gxea xers‹n ¶xontaw, NÊmfaw y' ìw Mel¤aw kal°ous' §p' épe¤rona ga›an. Gaia took in all the bloody drops that spattered off, and as the seasons of the year turned round she bore the potent Furies and the Giants, immense, dazzling in their armor, holding long spears in their hands, and then she bore the Melian Nymphs on the boundless earth.1 1 Theog. 183–187. Translations of Hesiod adapted from A. Athanassakis, Hesiod: Theogony, Works and Days, Shield (Baltimore 1983). -
The Silver Age of Social Media Nettime.Org and the Avant‐Garde of the ’90S Mckenzie Wark
17 The Silver Age of Social Media Nettime.org and the Avant‐Garde of the ’90s McKenzie Wark On October 31, 1995, an e‐mail message went out to a small group of people, mostly in Europe. “Welcome to the nettime mailing list,” it said. Nettime described itself as: the official channel for the *ZK proceedings,* a series of meetings bound to the need of a cultural politics of the nets, of non/electronic, internal and international coordinated action, an open and generous definition/exchange of desired infor- mation. This list tries to bridge the gap between two meetings, it is no place, table or city.1 For those who don’t remember such announcements, this message was launching a listserv. On a listserv, an e‐mail sent to the list went to all the people subscribed to it. Listservs were a sort of intermediate stage in the evolution of social media. To give you some idea of how different they were from today’s social media: when it started, Nettime.org was not moderated.2 Spam was too rare an occurrence to worry about. I would like to start the discussion of the avant‐garde of the 1990s with Nettime because it was a place that had a fairly rare flavor in the digital media art and culture of the time. It grew out of a series of meetings at the margins of art festivals in Venice, Budapest, Amsterdam, and Ljubljana. It was transnational from the start. It brought together people working at the intersection of digital media art, theory, and activism. -
Two Cases of the Golden Age: the Hesiodic Utopia and the Platonic Ideal State
TWO CASES OF THE GOLDEN AGE: THE HESIODIC UTOPIA AND THE PLATONIC IDEAL STATE A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÜNEŞ VEZİR IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE DEPARTMENT OF PHILOSOPHY SEPTEMBER 2019 Approval of the Graduate School of Social Sciences Assoc. Prof. Dr. Sadettin Kirazcı Director (Acting) I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts. Prof. Dr. Halil Turan Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts. Prof. Dr. Halil Turan Supervisor Examining Committee Members Assoc. Prof. Dr. Barış Parkan (METU, PHIL) Prof. Dr. Halil Turan (METU, PHIL) Assist. Prof. Dr. Refik Güremen (Mimar Sinan Fine Arts Uni., PHIL) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name: Güneş Vezir Signature : iii ABSTRACT TWO CASES OF THE GOLDEN AGE: THE HESIODIC UTOPIA AND THE PLATONIC IDEAL STATE Vezir, Güneş MA, Department of Philosophy Supervisor: Prof. Dr. Halil Turan September 2019, 119 pages This study was prepared to give information about the Golden Age myth, and in this regard, to illustrate for what purposes and in which ways the myth is used by Hesiod and Plato and the interaction and similarities between these thinkers. -
Myth Made Fact Lesson 7: Perseus with Dr
Myth Made Fact Lesson 7: Perseus with Dr. Louis Markos Outline: The four greatest heroes of Greek mythology: Perseus Jason Theseus Hercules Setting Hesiod was a contemporary of Homer, late 8th century. Hesiod lived in Greece as a farmer. The four ages of man: o Golden Age: Live close to nature, close to the gods, and close to ourselves, a world before greed, before man cut open the earth for rare metals to kill each other o Silver Age: long youth that was happy, but they became violent and foolish and they were hidden under the earth o Bronze Age: men were warlike and fierce o Iron Age: this is the current age, far away from the Golden Age, we’ve lost a sense of shame and piety, we’ve lost our center and our balance o This concept is ubiquitous, that we are falling away. Hesiod adds a fifth age between the Bronze and Iron, and he calls it the age of heroes. There is almost a rebirth of the Golden Age with soldiers who fight for honor. This is when basically all of Greek mythology takes place (1500 BC – 1150 BC). o The Trojan War is the end of the Golden Age. o Every Greek tragedy takes place during that Golden Age, except a play about the Persian War, which is written as though the Persian war is taken place in a mythic Golden Age. Perseus Perseus is the son of Zeus. Acrisios heard a prophecy that Danae will give birth to a child who will kill him, so he locks Danae in a tower. -
In the Beginning, the Universe Was Without Form. It Was Just a Vast Hole, an Abyss
In the beginning, the universe was without form. It was just a vast hole, an abyss. This nothingness was called Chaos [KAY-ahs]. Out of Chaos were created Erebus [AIR-uh-bus] (Darkness) and Nox (Night). These two produced a gigantic egg, out of which was hatched a tremendous energy called Eros [AIR-ohss] (Love). Love created a goddess, Gaea [JEE-uh] (Earth), and a god, Uranus [YUR-an-uhs] (Heaven). Heaven and Earth were the first parents. Their children were a race of giants called Titans (or Elder Gods). Uranus, first ruler of all things, proved to be very cruel and unjust. Finally his wife, Gaea, the Earth-Mother, helped one of their Titan children, Cronus [KRO-nuhs] to overthrow him. Cronus became king and married a Titaness named Rhea [REE-uh]. The rule of Cronus was called the Golden Age because all things on earth, including men (who had been fashioned by a Titan named Prometheus [pro-MEE-thee-uhs]), were living in harmony with the gods and with each other. The whole earth at this time was a paradise. But this Golden Age ended when one of the sons of Cronus, Zeus [ZOOS], overthrew his father with the help of Prometheus. Zeus made himself King of the Universe. He gave the sea to his brother Poseidon [poh-SIE-don] and the underworld to his brother Hades [HAY-deez]. After that the race of men declined morally from the Golden Age to the Silver Age. The Silver Age had some good things, too, but men had less respect for the gods and were absorbed by material pleasures. -
Hesiod's Myth of the Ages As an Allegory for the Stages of Life
Hesiod’s Myth of the Ages as an Allegory for the Stages of Life Hesiod’s Myth of the Ages (Works and Days 129-234) is one of the more heavily analyzed and excerpted vignettes in the Works and Days, and offers to its readers many possible avenues of interpretation. In this paper, I argue that, in addition to other possible readings of the Myth of the Ages, the story also stands as a narrative for the stages of an individual’s life, from infancy to middle/old age. While other scholars have gestured in this direction of analysis (see especially Fontenrose 1974, Smith 1980; Falkner 1989), many have struggled with incorporating all five ages. My argument shows how the incorporation of all five ages into the analysis strengthens the allegory, rather than distracting from it. The Greeks show a fondness for dividing up the ages of an individual’s life and presenting types of individuals, often with the addition of extended metaphor, allegory, and similes. Our most famous example of the division of ages may be the riddle of the Sphinx (four legs, two legs, three legs), but it is not the only one. Homer seems to implicitly divide an individual’s life into four periods (see Falkner 1990); Solon (Frag. 7 West) divides the life of a man into 10 separate 7 year periods and discusses their predominant characteristics. As for creating typologies of individuals via metaphor, we need only think of Semonides 7 and his types of women. In his use of metals as the vehicle of the allegory, Hesiod reflects or parallels several near eastern traditions. -
Pandora's Diseases, Erga 102-04 R
Pandora's Diseases, "Erga" 102-04 Frazer, R M Greek, Roman and Byzantine Studies; Fall 1972; 13, 3; ProQuest pg. 235 Pandora's Diseases, Erga 102-04 R. M. Frazer A 1:'" Q I './..' t I to 1:" , \ \ vovco£ 0 (XVOPW7TO£CW E't' 7JI-'EP'[J. (X£ 0 E7T£ VVKT£ , 1 ./.. - \ Q _./..' (XVTOjL(XTO£ 't'0£TWC£ K(XK(x OV7]TO£C£ 't'EPOVC(x£ A , \./.. \ ,t. 1\ 1 Z I C£YT/. E7TE£ 't'WV7]V ESE£I\ETO jL7J7"£ET(x EVC. N THESE VERSES Hesiod describes the diseases that Pandora lets out I of the jar as coming upon men (xvT6jL(xTOL, 'freely', 'of their own accord', and Ctyfj, 'silently', since Zeus has taken away their voices. There have been two main interpretations of this description so far as I know, that of Wilamowitz and that of Hermann Frankel. Wilamowitz interprets as follows: "H. will sagen, dass die Krankheit von aussen in den Leib hereinkommt und man davon nichts merkt. Er verwirft also jeden Versuch, die Erkrankung auf natiirliche Ur sachen zurtickzuftihren."l According to this interpretation Hesiod apparently thinks of diseases as being godsent and not naturally caused, and his description merely emphasizes the fact that diseases come upon men from outside and catch them unawares. Frankel, however, in a comment on (xvT6jL(xTO£, gives a different opinion: "Bei Homer ist alle Spontaneitat des Willens und Tuns den G6ttern vor behalten; fur Hesiod sind es nicht mehr Apollon und Artemis, die Krankheit und Sterben auf den Menschen schiessen wie der Schutze den Pfeil, sondern die Krankheit fallt ihn an aus eigenem Willen. -
European Journal of American Studies, 10-2 | 2015 Ti-Girl Power: American Utopianism in the Queer Superhero Text 2
European journal of American studies 10-2 | 2015 Summer 2015, including Special Issue: (Re)visioning America in the Graphic Novel Ti-Girl Power: American Utopianism in the Queer Superhero Text Matt Yockey Electronic version URL: https://journals.openedition.org/ejas/11014 DOI: 10.4000/ejas.11014 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Matt Yockey, “Ti-Girl Power: American Utopianism in the Queer Superhero Text”, European journal of American studies [Online], 10-2 | 2015, document 9, Online since 14 August 2015, connection on 08 July 2021. URL: http://journals.openedition.org/ejas/11014 ; DOI: https://doi.org/10.4000/ejas.11014 This text was automatically generated on 8 July 2021. Creative Commons License Ti-Girl Power: American Utopianism in the Queer Superhero Text 1 Ti-Girl Power: American Utopianism in the Queer Superhero Text Matt Yockey 1. Introduction 1 In the graphic novel God and Science: Return of the Ti-Girls (2012), about a multi- ethnic group of female superheroes, writer-artist Jaime Hernandez offers a compelling example of the creator who uses his own subjectivity as a mode of textual production. By marrying his childhood love of Silver Age superhero comic books to the autobiographical qualities of alternative comic books, Hernandez actualizes his dual hyphenated subjectivities of pro-fan and Mexican-American. In the process, he collapses a number of other binaries: the past and the present, the mundane and the fantastic, and the private and the public. In turning to the superhero genre, historically so heavily invested in idealizing a white, heteronormative American identity (that proverbial “truth, justice, and the American way”), Hernandez successfully subverts the homogenizing strategies of national rhetoric and of mass culture. -
Chapter 3: Aspects of Ancient and Modern Understanding of Color J.L
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Chapter 3: Aspects of ancient and modern understanding of color J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Chapter 3: Aspects of ancient and modern understanding of color" (2000). Greek Color Theory and the Four Elements. 7. Retrieved from https://scholarworks.umass.edu/art_jbgc/7 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. III. ASPECTS OF ANCIENT AND MODERN UNDERSTANDING OF COLOR THE EVOLUTIONARY ASPECT OF COLORS The Four Elements theory can be the starting point for understanding how Greek painting, and for that matter all Greek art, took form. First a generalization: space divides easily into four parts, e.g., the cardinal directions, whereas time lends itself into division by three, e.g., past, present and future. But in the special case of the four elements as primary components of the planetary organism, an evolutionary sequence, that is, a time factor, is implicitly spread out in space. This sequence corresponds to the major stages of cosmic evolution, whether one is thinking on the exoteric level of modern science or on the modern esoteric level of anthroposophy. This latter level is more closely parallel to the thinking of the Greeks. -
An Age Worse Than Iron: the Evolution of the Myth of the Ages
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by eScholarship@BC An Age Worse than Iron: The Evolution of the Myth of the Ages Author: Vincent Falcone Persistent link: http://hdl.handle.net/2345/440 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2004 Copyright is held by the author, with all rights reserved, unless otherwise noted. BOSTON COLLEGE ARTS AND SCIENCES HONORS PROGRAM AN AGE WORSE THAN IRON: THE EVOLUTION OF THE MYTH OF THE AGES A THESIS BY VINCENT FALCONE ADVISOR: DAVID GILL, S.J. CLASSICS DEPARTMENT APRIL 2, 2004 An Age Worse Than Iron: The Evolution of the Myth of the Ages Abstract The idea that mankind’s history is one of regress rather than of progress has been seen as central to the classical outlook on life. Bury and others have gone so far as to state that the idea of Progress in its modern sense could not have even occurred to the Greeks. This is perhaps too extreme, but it does reflect an important point: if regression over time was not the only idea for the Greeks, it was at least the dominant one. No story in classical literature reflects this idea more clearly than the Myth of the Ages. The earliest extant version of the story comes in Hesiod’s Works and Days (c. 700 B.C.), after which it appears dozens of times throughout ancient literature. The myth in its standard form tells that the history of mankind takes the form of four ages, each represented by a metal: the first is a happy and virtuous Golden Age; the next is a less perfect Silver Age, followed by a warlike (and even worse) Bronze Age; and the last, the most impious and wretched of all, is the current Iron Age. -
Russian Silver Age Poetry: Texts and Contexts
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Works Swarthmore College Works Russian Faculty Works Russian 2015 Russian Silver Age Poetry: Texts And Contexts Sibelan E. S. Forrester Swarthmore College, [email protected] M. Kelly Follow this and additional works at: https://works.swarthmore.edu/fac-russian Part of the Slavic Languages and Societies Commons Let us know how access to these works benefits ouy Recommended Citation Sibelan E. S. Forrester and M. Kelly. (2015). "Russian Silver Age Poetry: Texts And Contexts". Russian Silver Age Poetry: Texts And Contexts. https://works.swarthmore.edu/fac-russian/160 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Russian Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. INTRODUCTION: POETRY OF THE RUSSIAN SILVER AGE Sibelan Forrester and Martha Kelly oetry is only one of the exciting cultural achievements of the Russian Pfin-de-siècle, which has come to be known as the Silver Age. Along with the Ballets russes, the music of Alexander Scriabin or Igor Stravinsky, the avant- garde painting of Kazimir Malevich or Marc Chagall, and the philosophical writings of Lev Shestov or Nikolai Berdyaev, poetry is one of the era’s most precious treasures. The Silver Age witnessed an unprecedented and fruitful interaction between Russian literature and the other arts, sometimes within the same person: several of the major poets were (or could have been) musi- cians and composers; others were painters, important literary critics, religious thinkers, scholars, or philosophers.