Discovering Ancient Magic
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
1 Visual Aid: Teaching H.D.'S Imagist Poetry with the Assistance Of
Teaching American Literature: A Journal of Theory and Practice Winter 2008 (2:1) Visual Aid: Teaching H.D.'s Imagist Poetry with the Assistance of Henri Matisse Christa Baiada, Borough of Manhattan Community College, CUNY The mantra of the modernist movement, articulated by Ezra Pound, was "make it new." Unfortunately, students don't always know how to approach "new" styles of literature, especially poetry that itself daunts many students. As we've all observed, if not experienced for ourselves, modernist poetry, upon first encounter, can be especially intimidating. In the spirit of making it new, this poetry often appears obscure in its density, perspective, and complexity. Students may look at a poem like "The Red Wheel Barrow" and ask "how is this poetry?" Of course, this is precisely the question we want to work through with them, so this is good. On the other hand, the initial discomfort of students with modernism can develop into a resistance hard to tackle. This is a challenge I found especially difficult to address in my early attempts to teach the poems of H.D. at a small, suburban music college in Long Island, NY. For my first lesson at the start of a unit on modernism in an undergraduate 200-level, Introduction to Literature class, I would devote the entire period to H.D. because I believe that her work beautifully encapsulates many of the principles of modernism laid out by Pound in his seminal essay "A Retrospect." Though several of my students have been fans, or even writers, of poetry and most had artistic sensibilities, many were disconcerted in their first encounter with modernist poetry via H.D., and the malaise they felt would linger in the following weeks as we read additional modernist poets. -
Supernatural Politics—The Session at Endor
March 20, 2019 SENATORS’ BIBLE STUDY • NEBRASKA STATE CAPITOL WEEK 10 The 2019 Nebraska Senate Series: “Rulers After God’s Own Heart—The Life of David” Supernatural Politics—The Session at Endor INSIDE MT. GILBOA AND ENDOR Saul’s Final Battles ........ 2 RAISED FROM THE DEAD Samuel Before Saul ...... 3 NANCY, NANCY! Spiritual Powers and Federal Figures ............. 4 A SAULIDE SÉANCE Saul’s Darkest Hour ....... 5 VERSE OF THE WEEK Isaiah 8:19 ..................... 6 —"The Shade of Samuel Invoked by Saul,” by Dmitry Martynov (1826-1889) ABOUT éances are creepy. As a wide-eyed teen, I sat in a dark circle on the cold floor Capitol Ministries® ......... 6 in my neighbor’s shed around a Ouija board. I jumped out of my skin when the wooden heart shape started moving by some power to spell out names. S I never went back, knowing it was wrong, but I was intrigued by the paranormal. Problems at home and no real answers from my bland, weekly, ritualistic religion caused me to wonder if there wasn’t something more. Only the moral fool says in his heart, “There is no God.” It is normal to think about higher powers in life. Political leaders also face problems bigger than themselves, seeking answers. The telephone rang down in the Führerbunker. It was for Hitler. Joseph Goebbels, Minister of Propaganda for the Third Reich, was on the line. He was ecstatic. The reason? The news: Franklin D. Roosevelt was dead. It was April 1945. Germany was caving in. The Allies were pressing from the West, the Russians from the East; soon Berlin itself would crumble. -
Don-Juan Canto III Annotated
Don Juan CANTOÛ III Gordon, Lord Byron Annotations by Peter Gallagher¤ April, 2015 You can find the free audio-book of Canto 1 of Don Juan on the iBooks Store Û ¤ [email protected] Canto 3 I Hail Muse ] Finally, at the start of Canto III, Byron gets around to invoking the Muse: the traditional way to start an Epic poem HAIL, Muse! et cetera.—We left Juan sleeping, and, briefly, to foreshadow its subject. But Byron’s invocation is no Pillowed upon a fair and happy breast, more than a sardonic nod to the idea; a sort of poetic blasphemy. Compare, for example, Homer’s Iliad (first seven lines), or Odyssey And watched by eyes that never yet knew weeping, (first ten lines) or Virgil’s Æneid (first eleven lines). Or, again, And loved by a young heart, too deeply blest Paradise Lost, where Milton’s invocation to his “Heavn’ly Muse” occupies the first twenty-six, breathless, lines. To feel the poison through her spirit creeping, Byron’s first draft of Canto III, before he split it into two Can- Or know who rested there, a foe to rest, tos, began with a nine-verse attack on Wellington; later moved Had soiled the current of her sinless years, to Canto IX. This verse, in that earlier draft, began: “Now to my Epic. ” And turned her pure heart’s purest blood to tears! A foe to rest ] The “foe to rest” refers to the “who” of the previous sentence. It is “Love”, addressed in the next verse, that II rests in her heart and has “soiled the current of [Haidee’s] sinless years. -
Naiad: a Timely Dataflow System
Naiad: A Timely Dataflow System Derek G. Murray Frank McSherry Rebecca Isaacs Michael Isard Paul Barham Mart´ın Abadi Microsoft Research Silicon Valley {derekmur,mcsherry,risaacs,misard,pbar,abadi}@microsoft.com Abstract User queries Low-latency query are received responses are delivered Naiad is a distributed system for executing data parallel, cyclic dataflow programs. It offers the high throughput Queries are of batch processors, the low latency of stream proces- joined with sors, and the ability to perform iterative and incremental processed data computations. Although existing systems offer some of Complex processing these features, applications that require all three have re- incrementally re- lied on multiple platforms, at the expense of efficiency, Updates to executes to reflect maintainability, and simplicity. Naiad resolves the com- data arrive changed data plexities of combining these features in one framework. A new computational model, timely dataflow, under- Figure 1: A Naiad application that supports real- lies Naiad and captures opportunities for parallelism time queries on continually updated data. The across a wide class of algorithms. This model enriches dashed rectangle represents iterative processing that dataflow computation with timestamps that represent incrementally updates as new data arrive. logical points in the computation and provide the basis for an efficient, lightweight coordination mechanism. requirements: the application performs iterative process- We show that many powerful high-level programming ing on a real-time data stream, and supports interac- models can be built on Naiad’s low-level primitives, en- tive queries on a fresh, consistent view of the results. abling such diverse tasks as streaming data analysis, it- However, no existing system satisfies all three require- erative machine learning, and interactive graph mining. -
Feasting in Homeric Epic 303
HESPERIA 73 (2004) FEASTING IN Pages 301-337 HOMERIC EPIC ABSTRACT Feasting plays a centralrole in the Homeric epics.The elements of Homeric feasting-values, practices, vocabulary,and equipment-offer interesting comparisonsto the archaeologicalrecord. These comparisonsallow us to de- tect the possible contribution of different chronologicalperiods to what ap- pearsto be a cumulative,composite picture of around700 B.c.Homeric drink- ing practicesare of particularinterest in relation to the history of drinkingin the Aegean. By analyzing social and ideological attitudes to drinking in the epics in light of the archaeologicalrecord, we gain insight into both the pre- history of the epics and the prehistoryof drinkingitself. THE HOMERIC FEAST There is an impressive amount of what may generally be understood as feasting in the Homeric epics.' Feasting appears as arguably the single most frequent activity in the Odysseyand, apart from fighting, also in the Iliad. It is clearly not only an activity of Homeric heroes, but also one that helps demonstrate that they are indeed heroes. Thus, it seems, they are shown doing it at every opportunity,to the extent that much sense of real- ism is sometimes lost-just as a small child will invariablypicture a king wearing a crown, no matter how unsuitable the circumstances. In Iliad 9, for instance, Odysseus participates in two full-scale feasts in quick suc- cession in the course of a single night: first in Agamemnon's shelter (II. 1. thanks to John Bennet, My 9.89-92), and almost immediately afterward in the shelter of Achilles Peter Haarer,and Andrew Sherrattfor Later in the same on their return from their coming to my rescueon variouspoints (9.199-222). -
Odysseus and Feminine Mêtis in the Odyssey Grace Lafrentz
Vanderbilt Undergraduate Research Journal, Vol. 11 Weaving a Way to Nostos: Odysseus and Feminine Mêtis in the Odyssey Grace LaFrentz Abstract. My paper examines the gendered nature of Odysseus’ mêtis, a Greek word describing characteristics of cleverness and intelligence, in Homer’s Odyssey. While Odysseus’ mêtis has been discussed in terms of his storytelling, disguise, and craftsmanship, I contend that in order to fully understand his cleverness, we must place Odysseus’ mêtis in conversation with the mêtis of the crafty women who populate the epic. I discuss weaving as a stereotypically feminine manifestation of mêtis, arguing that Odysseus’ reintegration into his home serves as a metaphorical form of weaving—one that he adapts from the clever women he encounters on his journey home from Troy. Athena serves as the starting point for my discussion of mêtis, and I then turn to Calypso and Circe—two crafty weavers who attempt to ensnare Odysseus on their islands. I also examine Helen, whom Odysseus himself does not meet, but whose weaving is importantly witnessed by Odysseus’ son Telemachus, who later draws upon the craft of weaving in his efforts to help Odysseus restore order in his home. The last woman I present is Penelope, whose clever and prolonged weaving scheme helps her evade marriage as she awaits Odysseus’ return, and whose lead Odysseus follows in his own prolonged reentry into his home. I finally demonstrate the way that Odysseus reintegrates himself into his household through a calculated and metaphorical act of weaving, arguing that it is Odysseus’ willingness to embrace a more feminine model of mêtis embodied by the women he encounters that sets him apart from his fellow male warriors and enables his successful homecoming. -
Witch Hunting
LE TAROT- ISTITUTO GRAF p resen t WITCH HUNTING C U R A T O R S FRANCO CARDINI - ANDREA VITALI GUGLIELMO INVERNIZZI - GIORDANO BERTI 1 HISTORICAL PRESENTATION “The sleep of reason produces monsters" this is the title of a work of the great Spanish painter Francisco Goya. He portrayed a man sleeping on a large stone, while around him there were all kinds of nightmares, who become living beings. With this allegory, Goya was referring to tragedies that involved Europe in his time, the end of the eighteenth century. But the same image can be the emblem of other tragedies closer to our days, nightmares born from intolerance, incomprehension of different people, from the illusion of intellectual, religious or racial superiority. The history of the witch hunting is an example of how an ancient nightmare is recurring over the centuries in different forms. In times of crisis, it is seeking a scapegoat for the evils that afflict society. So "the other", the incarnation of evil, must be isolated and eliminated. This irrational attitude common to primitive cultures to the so-called "civilization" modern and post-modern. The witch hunting was break out in different locations of Western Europe, between the Middle Ages and the Baroque age. The most affected areas were still dominated by particular cultures or on the border between nations in conflict for religious reasons or for political interests. Subtly, the rulers of this or that nation shake the specter of invisible and diabolical enemy to unleash fear and consequent reaction: the denunciation, persecution, extermination of witches. -
Download Circe and Odysseus in Ancient
Circe and Odysseus in Ancient Art This resource offers a series of questions that will help students engage with four ancient artifacts that represent the goddess Circes interactions or influences upon Odysseus and his companions. All these artifacts were made several centuries after the Odyssey was composed, but they should not be approached as straightforward or mere illustrations of episodes from the Odyssey. Rather, all five works of art (four artifacts and the epic poem) represent different versions of the story of how Circe interacts with Odysseus and his men. This resource assumes that students already will have read Books 9 and 10 of the Odyssey. This handout is formatted as a guide that an instructor can use to facilitate a conversation during a class meeting. The questions are meant to be asked by the instructor while students actively look at images of each artifact, using the weblinks provided. After each question, examples of possible observations that students might offer are included in italics. The italicized answers also sometimes include extra information that the instructor can share. Artifact #1: A kylix (drinking cup) at the Museum of Fine Arts (Boston) Attributed to the Painter of the Boston Polyphemos Made in Athens (Attica, Greece) ca. 550-525 BCE https://collections.mfa.org/objects/153469/drinking-cup-kylix-depicting-scenes-from-the- odyssey;jsessionid=31E168DC9A32CBB824DCBBFFA1671DC1?ctx=bb1a3a19-ebc8-46ce-b9b1- 03dc137d5b86&idx=1 Accession number 99.518 1. We are going to look at both sides of this kylix, but we will begin with the first image on the website (“Side A” of the kylix, which does not include anyone holding a shield). -
The World View of the Anonymous Author of the Greek Chronicle of the Tocco
THE WORLD VIEW OF THE ANONYMOUS AUTHOR OF THE GREEK CHRONICLE OF THE TOCCO (14th-15th centuries) by THEKLA SANSARIDOU-HENDRICKX THESIS submitted in the fulfilment of the requirements for the degree DOCTOR OF ARTS in GREEK in the FACULTY OF ARTS at the RAND AFRIKAANS UNIVERSITY PROMOTER: DR F. BREDENKAMP JOHANNESBURG NOVEMBER 2000 EFACE When I began with my studies at the Rand Afrikaans University, and when later on I started teaching Modern Greek in the Department of Greek and Latin Studies, I experienced the thrill of joy and the excitement which academic studies and research can provide to its students and scholars. These opportunities finally allowed me to write my doctoral thesis on the world view of the anonymous author of the Greek Chronicle of the Tocco. I wish to thank all persons who have supported me while writing this study. Firstly, my gratitude goes to Dr Francois Bredenkamp, who not only has guided me throughout my research, but who has always been available for me with sound advice. His solid knowledge and large experience in the field of post-classical Greek Studies has helped me in tackling Byzantine Studies from a mixed, historical and anthropological view point. I also wish to render thanks to my colleagues, especially in the Modern Greek Section, who encouraged me to continue my studies and research. 1 am indebted to Prof. W.J. Henderson, who has corrected my English. Any remaining mistakes in the text are mine. Last but not least, my husband, Prof. B. Hendrickx, deserves my profound gratitude for his patience, encouragement and continuous support. -
Ancient Greece - Moving Ships Over Land
Ancient Greece - Moving Ships Over Land In ancient times, there was no waterway for sailors to easily reach Athens if they were traveling to and from Greece’s Ionian coast. A piece of land, called the Isthmus of Corinth, was “in the way.” Without a “shortcut,” across the Isthmus, ships would have to sail from the Ionian Sea to the Aegean Sea by rounding the Peloponnesian Peninsula. Not only was that a long sail, it was a dangerous one. Gale-force winds often trouble sailors at Cape Matapan and Cape Maleas (with its treacherous shoreline). So ... the ancients invented a way to help boats cross the Isthmus on land. They made a road - known as “The Diolkos” - which served as an overland passage between the relatively quiet waters of the Gulf of Corinth and the Saronic Gulf. This image depicts what is left of the Diolkos (which today lies next to the Corinth Canal). We’re not exactly sure when it was first created, but ancient writers referred to it. Those writings reach-back to Aristophanes (at least) who lived between 446 BC and c. 386 BC. Scholars believe that his phrase “as fast as a Corinthian” referred to the Diolkos (and a Corinthian’s ability to swiftly move from Corinth to Athens via the overland passage). Ships carrying goods, or ships bound for war, could cross the Isthmus via the Diolkos. It measured somewhere between 3.7 to 5.3 miles (6 to 8.5 km) and likely remained in use from circa 600 BC to the middle of the first century AD. -
Mythology Study Questions
Greek Mythology version 1.0 Notes: These are study questions on Apollodorus’ Library of Greek Mythology. They are best used during or after reading the Library, though many of them can be used independently. In some cases Apollodorus departs from other NJCL sources, and those other sources are more authoritative/likely to come up on tests and in Certamen. In particular, it is wise to read the epics (Iliad, Odyssey, Aeneid, Metamorphoses) for the canonical versions of several stories. Most of these are in question form, and suitable for use as certamen questions, but many of the later questions are in the format of NJCL test questions instead. Students should not be worried by the number of questions here, or the esoteric nature of some of them. Mastering every one of these questions is unnecessary except, perhaps, for those aiming to get a top score on the NJCL Mythology Exam, compete at the highest levels of Certamen, and the like. Further, many of the questions here are part of longer stories; learning a story will often help a student answer several of the questions at once. Apollodorus does an excellent job of presenting stories succinctly and clearly. The best translation of the Library currently available is probably the Oxford Word Classics edition by Robin Hard. That edition is also excellent for its notes, which include crucial information that Apollodorus omits as well as comparisons with other versions of the stories. I am grateful for any corrections, comments, or suggestions. You can contact me at [email protected]. New versions of this list will be posted occasionally. -
Region of Peloponnese Investment Profile
Region of Peloponnese Investment Profile February 2018 Contents 1. Profile of the Region of Peloponnese 2. Peloponnese’s competitive advantages 3. Investment Opportunities 1. Profile of the Region of Peloponnese 2. Peloponnese’s competitive advantages 3. Investment Opportunities 4. Investment Incentives Peloponnese Region: Quick facts (I) Peloponnese, a region in southern Greece, includes the prefectures of Arcadia, Argolida, Korinthia, Lakonia, and Messinia •The Peloponnese region is one of the thirteen regions of Greece and covers 11.7% of the total area of the country •It covers most of the Peloponnese peninsula, except for the northwestern subregions of Achaea and Elis which belong to West Greece and a small portion of the Argolid peninsula that is part of Attica •On the west it is surrounded by the Ionian Sea and bordered by the Region of Western Greece, on the northeast it borders with the region of Attica, while on the east coast it is surrounded by the Sea of Myrtoo • The Region has a total area of about 15,490 square kilometers of which 2,154 km² occupied by the prefecture of Argolida, 4,419 km² by the prefecture4. Investment of Arcadia, 2Incentives,290 km² by the prefecture of Korinthia, 3,636 km² by the prefecture of Lakonia and 2,991 km² by the prefecture of Messinia •Key cities include namely Tripoli, Argos, Corinth, Sparta and Kalamata. Tripoli also serves as the Region’s capital. •The prefecture of Arcadia covers about 18% of the Peloponnese peninsula, making it the largest regional unit on the peninsula Peloponnese Region: Quick facts (II) Demographics and Workforce quick facts Population: 577.903 (2011) 5.34% of the total Greek population Main macroeconomic data of the Region of Peloponnese 2012 2013 2014 2015 2016 GDP* 8,270 7,847 7,766 7,777 n.a.