MIDAZOLAM “Hera Seducing Zeus”
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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. -
Fact Sheet 2021 Revision #1.00 07/09/2020
2021 Fact Sheet 2021 Revision #1.00 07/09/2020 Changes in working times and services may take place. This is not the final revision! Thank you for your cooperation. www.AlmyrosBeach.com – Season 2021 Contents Welcome ........................................................................................................................................................................................... 2 Representatives Contact Information ............................................................................................................................................. 2 Hotel General Information ............................................................................................................................................................. 2 Included Services ........................................................................................................................................................................... 2 Payable Services ............................................................................................................................................................................. 2 Payable Services – Pricelist ............................................................................................................................................................. 3 ROOMS .............................................................................................................................................................................................. 4 HOTEL LAYOUT ................................................................................................................................................................................. -
Disentangling Hypnos from His Poppies
EDITORIAL VIEWS Anesthesiology 2010; 113:271–2 Copyright © 2010, the American Society of Anesthesiologists, Inc. Lippincott Williams & Wilkins Disentangling Hypnos from His Poppies SUALLY a combination of opioid and hypnotic drugs theory, the CI can be interpreted as an indicator of the in- Uare used to achieve a state of balanced general anesthe- tensity of sub-cortical input. They found that increasing con- sia in the surgical patient. As evidenced by the great variation centrations of remifentanil caused a profound decrease in Downloaded from http://pubs.asahq.org/anesthesiology/article-pdf/113/2/271/251266/0000542-201008000-00006.pdf by guest on 02 October 2021 in practice, a fundamental but unanswered question is “How this parameter that was most marked in the presence of high much opioid should be given intraoperatively?” In Greek propofol concentrations. The CI index correlates well with mythology, Hypnos was the god of sleep. He lived on the the absolute amplitude of the electroencephalograph. The island of Lemnos in a dark cave surrounded by poppies. One propofol-induced increase in electroencephalographic am- of his sons was Morpheus, who gave form to the dreams of plitude is, therefore, suppressed by the concomitant adminis- kings and heroes. The article by Liley et al.1 in this issue of tration of remifentanil. In this respect, the CI index is markedly ANESTHESIOLOGY proposes an electroencephalographic index different from almost all the other electroencephalographic of opioid effect. Perhaps, this study has given us a tool to monitors in common use (such as the bispectral index and var- dissect out the influence of the poppies on Hypnos? ious entropies), the algorithms of which are designed to ignore Previous work on the electroencephalographic effects of the information contained in absolute amplitude of the electro- opioids is somewhat contradictory. -
PERSEPHONE a Musical Allegory for the Stage by David Hoffman
PERSEPHONE A Musical Allegory for the Stage By David Hoffman In Concert Performance www.PersephoneOnStage.com July 21, 2010 The Great Room The Alliance of Resident Theaters South Oxford Space This particular story was so important to all of those ancient Greek and Roman dumbbells of whom Ms. Wafers was so dismissive, that they made it the centerpiece, the very gospel, of their most important religious ceremonies – the Mysteries of Demeter at Eleusis – which were held outside of Athens for at least 2,000 years. The initiates at these ceremonies, who included every important classical philosopher, artist, and playwright, and every Roman Emperor until the rise of Christianity, were taught this story, and used it to guide them to a secret truth that they thought to be crucial to their successful entry into the afterlife. What, exactly, this secret was has remained secret (a fact that, itself, is remarkable considering the prolific literary output of those 2,000 years of initiates), but there are layers of importance, and of metaphor in the story that we can find without too much digging. One comes when we analyze Persephone’s motivations: why does she eat the damned pomegranate (literally, the pomegranate of the damned) in the first place? All the retellings of this story suggest that it is that conscious decision, not her initial abduction, that ties her forever to the world of the dead. She chooses to be there, for at least part of the year – to be the wife of this awful god who has abducted her. His approach was god-awful, for sure, but he is the second most powerful person in the universe, and he sees her not as a little girl but as his queen. -
What Is a Non-Chronological Report?
Question: What is a non-chronological report? A non-chronological report is used to describe something factual. It is similar to a fact file. Question: What might be some of the features of a non- chronological report? • Conclusion • Eye-catching heading • Conjunctions • Relative pronouns • Facts • Sub-headings • Third person • Subordinate clauses • Parenthesis Non-chronological report planner- Introduction: • What is the report about? • A brief overview of the Greek gods- • What did the Greeks believe? • Who are they? • Where did they live? Paragraph 1: Paragraph 2: • Create a headline for this section. Something that relates to the This should be a God that contrasts one of your 12 Olympians in gods of Mount Olympus. paragraph 1. • Choose one of the first 3 gods from the ‘Greek gods fact sheet’ to • Create a headline for this section. humans. write about. • Choose one of the second 3 gods from the ‘Greek gods fact sheet’ to • What they were the god or goddess of and their power or skill. write about. • Describe what they look like (you might want to use the pictures • What they were the god or goddess of and their power or skill. on the information cards to you with this) and something they • Describe what they look like (you might want to use the pictures on might carry or have (this might be a weapon, tool or pet). the information cards to you with this) and something they might • Who are they related to? Who are their children? carry or have (this might be a weapon, tool or pet). • Any similarities to one of the Viking gods? How/why are they • Who are they related to? Who are their children? similar? • Any similarities to one of the Viking gods? How/why are they • Any other interesting facts. -
Poets and Poetics in Greek Literary Epigram
Poets and Poetics in Greek Literary Epigram A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics by Charles S. Campbell B.A. Grinnell College M.A. University of Cincinnati November, 2013 Committee Chair: Dr. Kathryn J. Gutzwiller, Ph.D. 1 Abstract This dissertation offers a new analysis of the treatment of poets and poetics in Greek literary epigram from the early Hellenistic Period (3rd century BCE) down to the early Roman Imperial Period (1st century CE). In their authorial self-representations (the poetic ego or literary persona), their representation of other poets, and their thematization of poetry more generally, literary epigrammatists define, and successively redefine, the genre of epigram itself against the background of the literary tradition. This process of generic self-definition begins with the earliest literary epigrammatists’ fusion of inscriptional epigram with elements drawn from other genres, sympotic and erotic poetry and heroic epic, and their exploitation of the formal and conceptual repertoire of epigram to thematize poetic discourse. With the consolidation of the epigrammatic tradition in the 2nd and 1st centuries BCE, the distinctively epigrammatic poetic discourse that had evolved in the 3rd century BCE was subsumed into the persona of the poet himself, who is now figured as the very embodiment of the epigrammatic tradition and genre. In the first century BCE, as epigram was transplanted from Greece to the new cultural context of Roman Italy, the figure of the epigrammatist served to articulate the place of both poetry and the poet in this new world. -
Gods and Goddesses
GODS AND GODDESSES Greek Roman Description Name Name Adonis God of beauty and desire Goddess of love and beauty, wife of Hephaestus, was said to have been born fully- Aphrodite Venus grown from the sea-foam. Dove God of the poetry, music, sun. God of arts, of light and healing (Roman sun god) Apollo Apollo twin brother of Artemis, son of Zeus. Bow (war), Lyre (peace) Ares Mars Hated god of war, son of Zeus and Hera. Armor and Helmet Goddess of the hunt, twin sister of Apollo, connected with childbirth and the healing Artemis Diana arts. Goddess of the moon. Bow & Arrow Goddess of War & Cunning wisdom, patron goddess of the useful arts, daughter of Athena Minerva Zeus who sprang fully-grown from her father's head. Titan sky god, supreme ruler of the titans and father to many Olympians, his Cronus Saturn reign was referred to as 'the golden age'. Goddess of the harvest, nature, particularly of grain, sister of Zeus, mother of Demeter Ceres Persephone. Sheaves of Grain Dionysus Bacchus God of wine and vegetation, patron god of the drama. Gaia Terra Mother goddess of the earth, daughter of Chaos, mother of Uranus. God of the underworld, ruler of the dead, brother of Zeus, husband of Persephone. Hades Pluto Invisible Helmet Lame god of the forge, talented blacksmith to the gods, son of Zeus and Hera, Hephaestus Vulcan husband of Aphrodite. God of fire and volcanos. Tools, Twisted Foot Goddess of marriage and childbirth, queen of the Olympians, jealous wife and sister Hera Juno of Zeus, mother of Hephaestus, Ares and Hebe. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable). -
Death's Brother Gayle Greene Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Faculty Publications and Research Scripps Faculty Scholarship 1-1-2012 Death's Brother Gayle Greene Scripps College Recommended Citation Greene, Gayle. "Death's Brother," Canadian Medical Association Journal v. 184 no. 1 (January 10, 2012), pp. 1-2. This Article is brought to you for free and open access by the Scripps Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. CMAJ Humanities Poetry Death’s brother And there the children of dark Night have their dwellings, Sleep and Death, awful gods. The glowing Sun never looks upon them with his beams…. But Sleep roams peace- fully over the earth and the sea’s broad back and is kindly to men; while Death has a heart of iron, and his spirit within him is pitiless as bronze: whomsoever of men he has once seized he holds fast: and he is hateful. Hesiod, Theogony (Origins of the Gods), c 750−650 BC In the fables they are twins, Hypnos and Thanatos, sons of Night. She reigned before light breathed upon the waters, before electricity, that’s sure, Darkness primordial, p a force to be reckoned with — m a h c for besides u a e B Sleep and Death, y r n Night brought e H , 7 Doom into the world, 6 2 . r Strife and N m Retribution: u e s u What a brood! M h s i t i r Sleep was the younger brother, B and as youngsters do, he imitated his elder, (even then, humankind yet no sacri"cial altars which is why knew about those poppies), burn to him, the sleeping and the dead and I have seen him no voices rise in supplication, are look-alikes: depicted with wings no Orphic hymns, limbs slack, growing out of his head. -
THE METAMORPHOSIS of SEMELE the Transformation of the Characterisation of Semele from Ovid to Handel
THE METAMORPHOSIS OF SEMELE The Transformation of the Characterisation of Semele from Ovid to Handel VICTORIA MARIE MOSTUE Supervised by Prof. Han Lamers SUBMITTED FOR THE MASTER’S DEGREE IN CLASSICAL LANGUAGES (LATIN) – LAT4190 DEPARTMENT OF PHILOSOPHY, CLASSICS, HISTORY OF ART AND IDEAS FACULTY OF HUMANITIES UNIVERSITY OF OSLO SPRING 2020 “In Semele, European music achieved its most complete Ovidian masterpiece.” Charles Martindale, Ovid Renewed, 10 Abstract The ancient mythological figure Semele, mother of Bacchus, appears in innumerous works from antiquity to modern time. Two such works are Ovid’s epic poem the Metamorphoses and Handel’s oratorio Semele. Although the latter is based on the former, its characterisation of Semele has been greatly altered from that of its source material. This thesis therefore examines the relationship between how Semele is characterised in the Metamorphoses and in Semele in order to see the oratorio in a clearer light. The study argues that although there are significant differences between the two works’ characterisation of Semele, close literary analysis of their portrayals reveals several similarities. It also includes a discussion on whether the characterisation of Semele in the oratorio is caused its creators desire to convey a particular message. Furthermore, this thesis places the oratorio in a wider context by analysing other ancient texts in which Semele appears and by tracing the chain of receptions. From this it is evident that several of Semele’s characteristics in the oratorio which are not present in the Metamorphoses or other ancient texts can be found in some of the post- classical works which preceded Semele. -
The Male Olympians
The Male Olympians Chris Mackie The Male Olympians The three brothers The younger generation • Zeus • Apollo • Poseidon • Hermes • Hades • Dionysus Chris Mackie The Olympian Family TRee IMAGE: http://www.buzzle.com/images/zeus-family-tree.jpg Chris Mackie Zeus (Jupiter) • Birth • Relationships with the other Olympians as brother or father • The division of the world Zeus with his lightning bolt and eagle. Attic Red Figure amphora attributed to the Berlin Painter, c.470 - 460 BCE Chris Mackie http://www.theoi.com/image/K1.1Zeus.jpg Zeus • Zeus as god of the sky and mountains • Zeus in the story of Troy in the Iliad on Mount Olympus and Mount Ida • Interaction with the world of humans via intermediaries or in theriomorphic (ie wild animal) form • Note especially Hermes and Iris Zeus and Hera feasting on Olympos, served by Hebe or Iris. Attic Red Figure Amphora Attributed to the Nikoxenos Painter, c.500 BCE: Chris Mackie http://www.theoi.com/image/K18.2Hebe.jpg Zeus • The sexual encounters of Zeus with mortal women are incredibly numerous. They include: • Danae (Perseus) • Alcmene (Heracles) • The unnamed mother of Dardanus, the founder of Troy • Leda (Helen). Note the Zeus asumes the form of a shower of gold to famous poem by W.B. impregnate Danae. (Lucanian?) Red Figure Krater, c 450 - 425 BCE: Yeats http://www.theoi.com/image/K1.14Zeus.jpg Chris Mackie Zeus • Note also Zeus’s homosexual relationship with Ganymede, the young Trojan boy. Zeus comes down from Mount Ida as an eagle and takes the boy up Above: Ganymede serves ambrosia to Zeus. -
Who Let the Gods Out? Chapter 17
Who Let The Gods Out? Chapter 17 – Family Matters Zeus was barely halfway through his explanation of Thanatos’s escape when Aphrodite had pulled the keys to her sports car out of her handbag. ‘I’m in,’ she squealed. ‘Sounds like fun!’ But Athene was going to take more persuading. Zeus, Elliot and Aphrodite were in Athene’s office at St Brainiac College, Oxford, where Athene was an esteemed professor of politics, philosophy, economics, English, French, Spanish, Classics, natural sciences and basket- weaving. It was a delicate negotiation. ‘YOU ARE SUCH A BORING-BRAINED, LIBRARY- LAME- O, BOFFIN-BUM!’ Aphrodite shouted at her sister across the grand mahogany desk. ‘I see you’ve been studying the Big Book of Intelligent Insults,’ Athene shot back over the top of her tortoiseshell glasses. Zeus looked at Elliot with raised eyebrows. See what I mean? Elliot could hear him say. ‘I can’t believe you’d rather sit here with your big pointy nose stuck in a book than be out finding the Chaos Stones,’ Aphrodite pouted. ‘Just because you look like a pensioner doesn’t mean that you have to act like one.’ Painful as it was to disagree with Aphrodite, Elliot could see that she was being very hard on her sister. Athene would normally be the most beautiful woman in the room: she was slender, with ebony hair piled into an elegant knot, her deep brown eyes radiating intelligence and grace over the rims of her glasses. But Elliot was convinced that all other girls looked like snotty warthogs next to Aphrodite.