Art; *Communication Skills; Course Content

Total Page:16

File Type:pdf, Size:1020Kb

Art; *Communication Skills; Course Content DOCUMENT RESUME ED 245 769 JC 840 391 TITLE Interdisciplinary Studies Program. Teacher's Guide: Part I. INSTITUTION Valencia Commu5Ity Coll., Orlando, Fla. SPONS AGENCY NationalOidokiment for the Humanities (NFAH), Washington,-D.C. PUB DATE 31 May 84 GRANT EH-20175-82 NOTE 186p.; For related documents, see JC 840 390-394. PUB TYPE Guides Classroom Use Guides (For Teachers) (052) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Art; *Communication Skills; Course Content; Course Objectives; General Education; *Greek Civilization; *Interdisciplinary Approach; Logic; Mythology; Philosophy; Science History; Sciences ABSTRACT This teacher's guide was developed for the first of four courses in Valencia Community College's Interdisciplinary Studies Program, a 2-year core general education curriculum which chronologically examines the major developments in the evolution of human knowledge. The guide provides an introductory overview of the semester's topic (i.e., the evolution of abstract thinking and critical inquiry during the Classical Greek period); introduces each unit; discusses each topic within each unit, including informationon methodology and main points to be stressed; and provides student papers showing the work in each unit. The units of the course are: (1) Developing Reading, Reasoning, Speaking, and Writing Skills, covering topics such as identifying, defining, and applying concepts; (2) Logic, focusing on the forms and functions of logic and using logic in reading, reasoning, speaking, and writing; (3) the Golden Age of Athens, exploring the ri7Ilitecture, sculpture, philosophy, politics, and literature of ti:it period; (4) the Decline of Athens, looking at the loss of idealism ,as reflected in architecture, sculpture, philosophy, politics 'and literature; (5) Greek Philosophy, drawing together the works of a variety of Greek thinkers and underscoring the theme of Greek rationalism; (6)the Mythic Dimension, contrasting the philosophical approach to life with the mythic approach to life; and (7) Greek Science, sampling works of the earliest Greek scientists through those of the late Hellenistic period. (AYC) *********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ********************************************************************* CT TEACHER'S GUIDE PART Interdisciplinary Studies Program Valencia Community College Orlando, Florida U.S. DEPARTMENT OF EDUCATION NATIONAL INSTITUT( OF EDUCATION "PERMISSION TO REPRODUCE THIS i HP-;OLICti.ES ,%Foiqr14 10% MATERIAL HAS BEEN GRANTED BY ,A%1Fci J. L. Schlegel TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC)." Chairman: J. Louis Schlegel,III Prepared with a grant from the National Endowment for the Humanities EH-20175-82 May 31, 1984 2 SEMESTES I , 9IPNTENT: The theme of Semester I of the Interdsiplinary Studie': Prt?ixam is Greek rationalism, the first revolution in 'le .ern intellects_ ;:) This theme is approached both thematicay chn,,nologir:A'Ly At c.he s.am time that this theme is explored, inn. time is spe. skills necessary for success in the To:4-;:i,rar, (an6 in othei work). The material covered in this semestl.:z diiied into units allow students to master smalle material ror tests d ato receive more frequent feedback fro-, y-r-LIfer3s. This un importault feature of the success of this setz.?.!.r. !rh,roughout remainin& semesters, units will become more Units 1 and II,"Developing Readin, Reeing, Speaki *mei Writin6 Skills," do just that. Unit 1 closely ,.?:xamin Jonathan Li.14,gs;ton Seag!:0; by Richard Bach.This is an extreme c'ff;1i'e starting 1-A;tf, for sevk./: reasons: 1. It is a simple story which n.t.Fris wealth of ph--)G7hir: ideas unfamiliar to studey.,.., 2. It is a handy tocd for tea0,0:oz .7.1Aents to read , Ziteral level. 3. It introduces ideas which Platonic phii are in the mainstream of Grec! 4. It is a book most students feel ;:.;,74ortble with beif;", they have read it or heard of it z: Tai! Ualnk it in cr,.m* to nnderstand.When they begin to critically analyze discover it isn't as easy to understand as they have led to believe they learn an important lesson in criticzil analysis. 5. The length and simplicity of the book make it possilT.e to concentrate on important initial skills. This unit also introduces students to the texts, The Little, Brown Handbook by H. Ramsey Fowler, 2nd ed., (Boston: Little, Brown and Company, 1983) and The Bedford Reader, X.J. Kennedy and Dorothy M. Kennedy, eds., (New York: St. Martin's Press, 1982). which they will use throughout the "grogram. This text emphasizes the communication skills stressed throughout the program. Unit II continues the emphasis on skills begun in Unit I by concentrating on gaining a basic knowledge of logic and using this in reading, reasoning, speaking and writing. Students learn to identify an author's argument, recognize its form and separate its premise from its conclusion. While Units I and II are organized thematically, Units III and IV are organized chronologically. Unit III explores the architecture, sculpture, philosophy, politics, and literature of the Golden Age of Athens. These disciplines are examined in light of three Greek ideals, arete, sophrosyne, and kalokagathia, as well as in light of hubris. The material covered in Unit 1II in: The Graeco-Persian Wars Greek Democracy Greek Idealism The Memorial Oration of Pericles The Parthenon Greek Sculpture Antigone by Sophocles Unit IV explores the Decline of Athens. It looks at the loss of idealism as reflected in architecture, sculpture, philosophy, politics, and literature from the Peloponnesian War to the time of Alexander the Great. Topics in Unit IV include: The Peloponnesian War Athen's Failure The Apology by Plato The Crito by Plato The Clouds by Aristophanes Greek Sculpture Alexander the Great The Hellenistic World The Altar of Zeus at Pergamum The last the units return to the thematic approach. Unit V, Greek Philosophy, draws together a variety of Greek thinkers and underscores the theme of the semester, Greek rationalism. This unit also includes some Roman writers who drew ou Greek sources. The topics in Unit V are: "Levels of Reality:The Thebry of the Divided Line and the Allegory of the Cave" by Plato "The Golden Mean" by Aristotle Epicurean Ethics "Letter to Menoeceus" by Epicurus The Meditations by Marcus Aurelius The Manual by Epictetus "On Providence" and "On Suicide" by Seneca Unit VI allows us to contrast the philosophic approach to life with the earlier, mythic approach to life. This unit, "The Mythic Dimension," analyzes The Odyssey by Homer in light of the hero cycle.outlined by Joseph Campbell in The Hero With A Thousand Faces. After studying The Odyssey 'in depth, students examine Euripides' play, The Bacchae in light of the dialectical interplay of the rational and irrational aspects of human nature. The last unit, Unit VII, is about Greek science. This unit reaffirms the value of Greek rationalism and prepares students to see the extreme contrast between this approach and the Christian/Medieval approach with which Semester II begins. The material covered in this unit ranges from 22 the earliest Greek scientists through those of the lateHellenistic period. Included are: "The Values of Science" by Richard Feynmann "An Overview of Greek Science" by Fritjof Capra The Philosophy of Charge--Heraclitus The Philosophy of Permanence--Parmenides The Philosophy of Accommodation--Democritus On the Nature of Things by Lucretius Aristotle's Science The Ptolemaic System SKILLS AND COMPETENCIES: During this semester, students are introduced to the skills necessary for critical analysis and evaluation, and skills necessary for academic success. Nine of the eighteen competencies students are expected to master in the program are introduced in this semester.These are: 1. The ability to locate key ideas, thesis statements and/or topic sentences. 2. The ability to paraphase key ideas or key passages (without distorting the idea and taking into account the context of the idea). 3. The ability to comprehend a literal meaning and then move to a symbolic or implied meaning. 4. The ability to separate evidence from inference and to iden- tify the kinds of evidence provided. 5. The ability to recognize underlying assumptions. 6. The ability to recognize the different types of reasoning: inductive, deductive, intuitive. 7. The ability to view an idea and its exposition as a whole. To see the relationship of key ideas to their medium of expression. 8. The ability to grasp the symbolic nature of language (verbal or representational). 9. The ability to translate from one form of expression into another. 13. The ability to evaluate the clarity of other's work as well as one's own.The ability to judge when sufficient information is presented and when information is pre- sented clearly. 17. The ability to express one's own ideas in a variety of modes (i.e. essay, poem, speech). 18. The ability to choose and affirm ideas which are found per- sonally satisfying. Timing is extremely important in mastering these skills.The work must be paced so that students will not be overwhelmed, yet fast enough tohold their attention. Unit I, Jonathan Livingston Seagull, emphasizes heavily competencies #1, 2,3, 5 and 18. Unit II, Logic, adds 4 #4 and 6. In Units III and IV, The Golden Age and The Decline of Athens, studentsbegin to master #8 and 9. Therefore, by mid-term students have been asked to show some degree of competence in each of the
Recommended publications
  • Copyright by Hal Victor Cardiff III 2015
    Copyright by Hal Victor Cardiff III 2015 The Thesis Committee for Hal Victor Cardiff III Certifies that this is the approved version of the following thesis: Drinking with the Dead: Odyssean Nekuomanteia and Sympotic Sophrosyne in Classical Greek Vase Painting APPROVED BY SUPERVISING COMMITTEE: Supervisor: Nassos Papalexandrou Penelope Davies Drinking with the Dead: Odyssean Nekuomanteia and Sympotic Sophrosyne in Classical Greek Vase Painting by Hal Victor Cardiff III, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2015 Abstract Drinking with the Dead: Odyssean Nekuomanteia and Sympotic Sophrosyne in Classical Greek Vase Painting Hal Victor Cardiff III, M.A. The University of Texas at Austin, 2015 Supervisor: Nassos Papalexandrou Though the episode is well known from Book 11 of the Odyssey (11.23-330, 385- 567), only two painted vases survive from antiquity that clearly depict Odysseus' nekuomanteion ("consultation with the dead"): a mid-fifth century Attic pelike by the Lykaon Painter (Boston, MFA: 34.79), and an early-fourth century Lucanian kalyx-krater by the Dolon Painter (Paris, Bibliothèque nationale: 422). Owing to their rarity, these images have long interested scholars, but what has largely been missing from the discussion are attempts to situate the vase paintings of necromancy within a context of use. This thesis places these objects at their original functional context of the symposium, the ancient Greek, all-male drinking party. Following a hermeneutic method of analysis, I explore the ways in which ancient symposiasts might have looked at and understood the pictorial programs on these two objects as a reflection of their convivial activities and values.
    [Show full text]
  • Foucault Parrhesia SPEP
    1 Moderate and Immoderate Candor: Foucault’s Parrhesia without Sophrosyne Abstract In this paper I consider Foucault’s discussion of Parrhesia, frank or candid speech—in his very last writings. I use many of his own examples, especially his brief discussion of Euripides’ Hyppolytus to show that a proper account of parrhesia needs to be connected with an account of the virtue of moderation, sophrosyne. Speaking frankly needs to be understood within the broader context of speaking appropriately and the virtues that guide that activity. By talking about courage but not moderation, opens himself up again to some common criticisms of his project. Foucault made Parrhesia—speaking fully, frankly, and candidly—a central theme of his very last works. It makes an appearance in his Collège de France lectures between 1981 and 19841, in The Use of Pleasure2, and in his 1984 Berkeley lectures “Discourse and Truth.”3 As Foucault turned his attention to the practices of subjectification, he became especially interested in the practices of speaking the truth about oneself. In his last works he subsumes sexual discourse under the general theme of speaking of oneself and turns to the Greeks and Romans to better understand what is at stake for the subject in such practices. For the Greeks and the Romans speaking the truth, whether about oneself or not, was closely tied to having a sound mind, inhabiting the virtue of sophrosyne, moderation.4 Yet when you think of Foucault’s writings, moderation does not jump to the fore; rather one tends to think of forms
    [Show full text]
  • Theagenes' Sōphrosynē in Heliodorus' Aethiopica
    Virtue Obscured: Theagenes’ Sōphrosynē in Heliodorus’ Aethiopica RACHEL BIRD Swansea University The concept of sōphrosynē has a central role in the genre of the Greek novel.1 The five extant texts have at their heart the representation of a mutual, heterosexual erotic relationship between beautiful, aristocratic youths and, in all of the novels apart from Longus’ Daphnis and Chloe, the protagonists’ possession of sōphrosynē is a crucial part of their identity. They must prove their sōphrosynē when faced with sexual advances from lustful antagonists, and they often prove their fidelity through their innate regard for this virtue. While as a term and con- cept sōphrosynē2 is semantically complex, encompassing the qualities and psy- chological states of temperance, moderation, sanity, self-control and chastity, in the novels it generally refers to sexual restraint and the motivation behind chastity. The texts differ in their respective treatments of sōphrosynē: there is a spectrum from the representation of mutual chastity in Xenophon of Ephesus’ novel, which has been labelled obsessive,3 to the irreverent subversion of chastity found in Achilles Tatius’ Leucippe and Clitophon.4 Despite these divergent treatments, the role of sōphrosynē is always fundamental to the ethics of these novels. Heliodorus’ Aethiopica has long been considered a complex work, particu- larly in terms of its narrative structure.5 The characterisation of its protagonists ————— 1 I consider the five extant works of Chariton, Xenophon of Ephesus, Longus, Achilles Ta- tius and Heliodorus to be examples of the genre of the Greek novel. For discussion of sōphrosynē in the novels, see Anderson 1997; De Temmerman 2014; Kaspryzsk 2009.
    [Show full text]
  • Symposion and the Culture of Sophrosyne
    The Archaic Greek Symposion and the Culture of Sophrosyne The Greek symposion was a drinking party for aristocratic males. It was a pan-Hellenic institution with specific customs and rituals, and its high point was the archaic period (Wecowski 11-12). After discussing the most important elements of the symposion, I will place it in its cultural context, arguing against those scholars who see it as the core of an aristocratic "cult of habrosyne" (luxury) that resisted political change (particularly the development of the polis), and with more recent scholars who see the symposion as a flexible institution that helped to make the polis possible. I will argue further that, far from being the center of an aristocratic cult of luxury, the symposion was part of a pan-Hellenic "culture of sophrosyne," that was endorsed by both the aristocracy and the rising middle class. The symposion included 14-30 participants who reclined in pairs on banqueting couches (Murray 1990: 7), and it had its own culture and rituals, including libations to the gods, passing the drinking cup from left to right, a symposiarch (who would determine the nature of the games, the order of play, and the prizes and penalties), and the games themselves. These games included riddles, poetry contests, and tests of skill (such as kottabos), and they formed the heart of the symposion (Wecowski 40-49). There were prizes for the winners and penalties for the losers; importantly, these tests of wit and skill could not be performed well if the participants were excessively drunk (Wecowski 52). Much of the archaic Greek lyric poetry we possess today was originally composed for the symposion (Murray 2009: 509-10).
    [Show full text]
  • Sophrosyne in Xenophon’S Oeconomicus
    166 ECONOMIC SELF- RESTRAINT An interpretation of Ischomachus’ use of sophrosyne in Xenophon’s Oeconomicus MA Thesis Classics and Ancient Civilizations Supervisor: Dr. T.A. van Berkel Second reader: Dr. A.M. Rademaker Word count: 16.494 Date of submission: 12-08-2019 Aniek Vink s1665235 [email protected] Contents Introduction ............................................................................................................................................. 2 Chapter 1: a semantic study of sophrosyne ............................................................................................. 4 1.1. General uses ................................................................................................................................. 4 1.2. Plato’s philosophical uses ............................................................................................................ 8 1.3. Relation to enkrateia .................................................................................................................... 9 Chapter 2: Socrates’ sophrosyne ........................................................................................................... 11 2.1. Good sense to avoid harming others .......................................................................................... 11 2.1.1. Xenophon’s apologetic definition ....................................................................................... 11 2.1.2. Socrates’ philosophical definition ......................................................................................
    [Show full text]
  • Hybrid Monsters
    HYBRID MONSTERS IN THE CLASSICAL WORLD THE NATURE AND FUNCTION OF HYBRID MONSTERS IN GREEK MYTHOLOGY, LITERATURE AND ART by Liane Posthumus Thesis presented in partial fulfilment of the requirements for the degree Master of Philosophy in Ancient Cultures at the University of Stellenbosch Supervisor: Prof. J.C. Thom Co-supervisor: Dr. S. Thom Faculty of Arts and Social Sciences Department of Ancient Studies March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 28 February 2011 Copyright © 2010 University of Stellenbosch All rights reserved i ABSTRACT The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of man- horse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity.
    [Show full text]
  • Women of Troy Is About the Destructive Power of Instinct.” Do You Agree?
    TOPIC: ‘Women of Troy is about the destructive power of instinct.” Do you agree? The Women of Troy is about the destructive power of instinct - this is the point Euripides strives to make in his anti-war protest play. Performed in 415 BC in the midst of Athens’ ongoing conflict with Sparta in the Peloponnesian War and in the aftermath of the atrocities of Melos, Euripides’ play is carefully constructed to warn the male, Athenian audience of the dangers of human instinct. Throughout the play, the Trojan women and children are forced to suffer the consequences of men’s acts to satiate their carnal lust. Euripides further condemns the male heroes of Homer’s Iliad, suggesting that, in times of war, men abandon honour and commit unforgivable cruelty to protect themselves from their irrational fears. Euripides’ play often warns the audience of the detrimental effects brought on by excessive ego and pride, asserting that it is best to moderate emotions and exhibit sophrosyne. Through his play, Euripides aims to create moral unease in his audience by highlighting the destructive power of love and lust, driving the Greek’s to inflict brutality and suffering on the Trojan men, women and children. Euripides calls into question the actions of men “who seem the wisest and of the highest regard” who in war they choose to do “things which show them to be something a good deal less”. With the “screams and moans of captured women” echoing along the river bank of the Scamander, this sensory imagery highlights the suffering of the defeated women, positioning the Athenian men to feel pity for them.
    [Show full text]
  • The Fabric of the City: Imaging Textile Production in Classical Athens
    HESPERIA JJ (2OO8) THE FABRIC OF THE CITY Pages 283-334 Imaging Textile Production in Classical Athens ABSTRACT Scenes of textile production on Athenian vases are often interpreted as confirming the oppression of women, who many argue were confined to "women's quarters" and exploited as free labor. However, reexamination - of the iconography together with a reconsideration of gender roles and - the archaeology of Greek houses dating to the 5th and 4th centuries B.C. suggests that these images idealize female contributions to the household in a positive way. The scenes utilize the dual metaphor of weaving and marriage to express the hartnonia of oikos and polis, a theme particularly significant under the evolving Athenian democracy. The past 30 years have witnessed significant change in the study of ancient Athenian iconography.1Of particularimportance has been the increased attention given to so-called genre scenes or "scenes of everyday life" in Athenian vase painting, a response to the dominating focus of earlier scholarship on mythological subject matter. This trend began in the late 1970s, and escalated in the 1980s with a series of publications primarily by French authors, most notably the groundbreaking volume La cite des imagesin 1984 (translatedinto English in 1989). Severalscholars have ques- tioned the efficacy of the image and the apparentreality of genre iconog- raphy.2All too often, the tendency has been to treat scenes on Athenian vases as mere illustrations,but recent iconographic studies have assertedthe opposite:that images are constructionsin which each element is consciously or unconsciously chosen as part of a larger system of signs and symbols.
    [Show full text]
  • Socrates View on Sophrosyne
    Sincronía ISSN: 1562-384X [email protected] Universidad de Guadalajara México Socrates view on sophrosyne. Predanocyová, Ľubica Socrates view on sophrosyne. Sincronía, no. 69, 2016 Universidad de Guadalajara, México Available in: https://www.redalyc.org/articulo.oa?id=513852378009 This work is licensed under Creative Commons Attribution 4.0 International. PDF generated from XML JATS4R by Redalyc Project academic non-profit, developed under the open access initiative Filosofía Socrates view on sophrosyne. Ľubica Predanocyová * [email protected] Constantine the Philospher University in Nitra, Eslovaquia Abstract: Sophrosyne is one of the fundamental values, which were reflected in the Greek classical philosophy. e paper is concentrated to provide image of that virtue in philosophical legacy of Socrates. e author points to the search content, structure and location sophrosyne in the context of other Greek areté, and points to the possible intentions sophrosyne in the practical socio-political life, such how it Socrates theory constitutes. Keywords: Sophrosyne, areté, morality, knowledge. Resumen: Sophrosyne es uno de los valores fundamentales, que se reflejaron en la filosofía clásica griega. El artículo se concentra para proporcionar una imagen de esa virtud en el legado filosófico de Sócrates. El autor apunta a la búsqueda del contenido, la estructura y la ubicación sophrosyne en el contexto de otros areté griego, y apunta a Sincronía, no. 69, 2016 las posibles intenciones sophrosyne en la vida sociopolítica práctica, tal como constituye la teoría de Sócrates. Universidad de Guadalajara, México Palabras clave: Sophrosyne, areté, moralidad, conocimiento. Received: 25 July 2015 Revised: 20 August 2015 Accepted: 07 October 2015 Introduction Redalyc: https://www.redalyc.org/ articulo.oa?id=513852378009 Reconstruction of Socrates' philosophical thinking is problematic, one who deals with his legacy, must cope with the uniqueness of Socrates' ideas.
    [Show full text]
  • Sophrosyne: Plato’S Key for Securing Civilization
    http://www.amatterofmind.us/ PIERRE BEAUDRY’S GALACTIC PARKING LOT SOPHROSYNE: PLATO’S KEY FOR SECURING CIVILIZATION Pierre Beaudry, 8/11/2020 FOREWORD Charmides is possibly one of the least understood of Plato’s dialogues, but whose significance is most important for our time. The dialogue is a difficult one because it is centered on the concept of sophrosyne (σωφροσύνη), a term that cannot be translated by any single word in any language, including Greek. For Socrates, the idea of sophrosyne was so difficult to define that after an extensive discussion with Charmides and Critias, he concluded that he was incapable of giving it a precise meaning because the nature of the concept was so varied and contradictory in its application. The mastery of the concept involves a profound understanding of both moderation and learned ignorance, and the challenge consists in discovering the nature of sophrosyne and how to truthfully apply the concept to oneself. In essence, the question is: How can you master the art of walking through fire with a sublime state of mind? Sophrosyne (1872) by Edward Burne-Jones Page 1 of 18 http://www.amatterofmind.us/ PIERRE BEAUDRY’S GALACTIC PARKING LOT INTRODUCTION: DAMNED IF YOU DO AND DEAD IF YOU DON’T […] “We will become a single land of brothers, nor shall we part in danger and distress. We will be free, just as our fathers were, and sooner die, than live in slavery. We will rely upon the highest God and we shall never fear the might of men.” Friedrich Schiller, Wilhelm Tell, The Rutli Oath1 The long Peloponnesian War (431-404 BC) that Athens fought and the present interminable wars that the United States has been waging in the last two decades in East and Southwest Asia are based on the same principle of sophistry and lies whose aim is to bring down civilization.
    [Show full text]
  • Anthropogony, Myth and Gender: Athenian Autochthony As a Case Study
    Anthropogony, Myth and Gender: Athenian Autochthony as a Case Study Di Yan Faculty of Classics University of Cambridge Murray Edwards College November 2018 This dissertation is submitted for the degree of Doctor of Philosophy Preface Declaration This dissertation is the result of my own worK and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit for the relevant Degree Committee. Di Yan November 12, 2018 III Abstract This thesis, with its reflections on previous myth theories, especially structuralism in the 20th century and post-structuralist readings in recent decades, suggests a new approach for understanding GreeK mythology. TaKing Athenian autochthony as a case study, it argues that, instead of regarding GreeK myth as either a narrative system with one universal logic (structuralist reading) or as an ever-changing corpus without a unified concern (post-structuralist reading), it is more plausible to understand various myths as a dynamic system of social conversation, where individual authors and different genres respond to, argue with, or even compete against one another concerning core issues for a compelling explanation and understanding of the world.
    [Show full text]
  • Ephorus on the Founding of Delphi's Oracle Avagianou, Aphrodite Greek, Roman and Byzantine Studies; Summer 1998; 39, 2; Proquest Pg
    Ephorus on the founding of Delphi's Oracle Avagianou, Aphrodite Greek, Roman and Byzantine Studies; Summer 1998; 39, 2; ProQuest pg. 121 Ephorus on the Founding of Delphi's Oracle Aphrodite Avagianou HE SCHEME of the thirty books of the Histories of Ephorus was an account of the world as a Greek of the fourth Tcentury knew it: it included the rise of the Greek states, their activities in the Mediterranean, and their relations with the neighbouring kingdoms. Ephorus laid down the principle that the myths of a remote past were outside his province, because their truth was not ascertainable. However, he chose to begin his work with what we call the Dorian Invasion, which was known to him by legend under the title "Return of the Heracleidae."l He recounts the mythical foundation of Delphi's oracle in the fourth book of his Histories (F 31). Strabo, introducing this pas­ sage of Ephorus, criticises the rationalized view employed by the historian in the myth of the founding of Delphi and attacks the half-hearted rationalization as merely a confusion of history with myth.2 The approach of Ephorus is considered rationalistic or euhemeristic.3 For Jacoby (ad F 31) Ephorus treats two traditions as interwined: on the one hand he puts Themis and Apollo to­ gether, and on the other through the rationalization of Python includes the struggle for the site of Delphi. IFGrHist 70 TT 8,10 (Diad. 4.1.2, 16.76.5). 2Strab. 9.3.11-12; see also Ephorus' interest in the oracle of Delphi, FF 96, 150.
    [Show full text]