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Macedonian Kings, Egyptian Pharaohs the Ptolemaic Family In
Department of World Cultures University of Helsinki Helsinki Macedonian Kings, Egyptian Pharaohs The Ptolemaic Family in the Encomiastic Poems of Callimachus Iiro Laukola ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XV, University Main Building, on the 23rd of September, 2016 at 12 o’clock. Helsinki 2016 © Iiro Laukola 2016 ISBN 978-951-51-2383-1 (paperback.) ISBN 978-951-51-2384-8 (PDF) Unigrafia Helsinki 2016 Abstract The interaction between Greek and Egyptian cultural concepts has been an intense yet controversial topic in studies about Ptolemaic Egypt. The present study partakes in this discussion with an analysis of the encomiastic poems of Callimachus of Cyrene (c. 305 – c. 240 BC). The success of the Ptolemaic Dynasty is crystallized in the juxtaposing of the different roles of a Greek ǴdzȅǻǽǷȏȄ and of an Egyptian Pharaoh, and this study gives a glimpse of this political and ideological endeavour through the poetry of Callimachus. The contribution of the present work is to situate Callimachus in the core of the Ptolemaic court. Callimachus was a proponent of the Ptolemaic rule. By reappraising the traditional Greek beliefs, he examined the bicultural rule of the Ptolemies in his encomiastic poems. This work critically examines six Callimachean hymns, namely to Zeus, to Apollo, to Artemis, to Delos, to Athena and to Demeter together with the Victory of Berenice, the Lock of Berenice and the Ektheosis of Arsinoe. Characterized by ambiguous imagery, the hymns inspect the ruptures in Greek thought during the Hellenistic age. -
The Annual of the British School at Athens A
The Annual of the British School at Athens http://journals.cambridge.org/ATH Additional services for The Annual of the British School at Athens: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here A Visit to Cyrene in 1895 Herbert Weld-Blundell The Annual of the British School at Athens / Volume 2 / November 1896, pp 113 - 140 DOI: 10.1017/S0068245400007115, Published online: 18 October 2013 Link to this article: http://journals.cambridge.org/abstract_S0068245400007115 How to cite this article: Herbert Weld-Blundell (1896). A Visit to Cyrene in 1895. The Annual of the British School at Athens, 2, pp 113-140 doi:10.1017/S0068245400007115 Request Permissions : Click here Downloaded from http://journals.cambridge.org/ATH, IP address: 131.173.48.20 on 15 Apr 2015 ' itfS i^>- tv lli-JOTb. V**»-iJ IhUS ntt < POINTS'Si/HEHCEl PHOTMOHAPMS ARE British School at Athens, Annual II. PLATE IV. RUINS OF CYRENE: GENERAL PLAN. A VISIT TO CYRENE IN 1895. A VISIT TO CYRENE IN 1895. BY HERBERT WELD-BLUNDELL. PLATE IV. THE difficulties that hedged round the Garden of the Hes- perides in the Greek seem still destined to make the Cyrenaica, a country to which the eyes of archaeologists have so wistfully turned, almost as inaccessible to the modern traveller as to the heroes of ancient fable. The classic maidens have vanished, the Garden is some- what run to seed, but the dragon of early legend is there, in the person of the native official who guards the historical treasures that lie strewn over the rich sites of the Pentapolis, stately tombs that worthless Arabs kennel in or plunder for statues and vases, to be peddled to Maltese or Greeks for (literally) home consumption or foreign export. -
Lucan's Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek a Dissertation Submitted in Partial Fulf
Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Catherine Connors, Chair Alain Gowing Stephen Hinds Program Authorized to Offer Degree: Classics © Copyright 2014 Laura Zientek University of Washington Abstract Lucan’s Natural Questions: Landscape and Geography in the Bellum Civile Laura Zientek Chair of the Supervisory Committee: Professor Catherine Connors Department of Classics This dissertation is an analysis of the role of landscape and the natural world in Lucan’s Bellum Civile. I investigate digressions and excurses on mountains, rivers, and certain myths associated aetiologically with the land, and demonstrate how Stoic physics and cosmology – in particular the concepts of cosmic (dis)order, collapse, and conflagration – play a role in the way Lucan writes about the landscape in the context of a civil war poem. Building on previous analyses of the Bellum Civile that provide background on its literary context (Ahl, 1976), on Lucan’s poetic technique (Masters, 1992), and on landscape in Roman literature (Spencer, 2010), I approach Lucan’s depiction of the natural world by focusing on the mutual effect of humanity and landscape on each other. Thus, hardships posed by the land against characters like Caesar and Cato, gloomy and threatening atmospheres, and dangerous or unusual weather phenomena all have places in my study. I also explore how Lucan’s landscapes engage with the tropes of the locus amoenus or horridus (Schiesaro, 2006) and elements of the sublime (Day, 2013). -
Greece, the Land Where Myths Replaces Reality
GREECE, THE LAND WHERE MYTHS REPLACE REALITY (Myths about Epirus) What is myth and what does it serve? Myth is a narrative based usually on a false story which can not be used as a replacement of history, but sometimes myth might be considered a distorted account of a real historical event. The myth does not differ much from a folktale and usually the boundary between them is very thin. Myth must not be used to reconstruct, however in the ancient society of the so called “”Ancient Greeks”” myth was usually regarded as a true account for a remote past. Surprisingly this ‘tradition’ is descended to the Modern Greeks as well. They never loose the chance to use the myths and the mythology of a remote past and to pose them as their real ethnic history. This job is being done combining the ancient myths with the ones already created in the modern era. Now let’s take a look at two Greek myths, respectively one ancient and one modern, while our job is to prove that even these myths are respectively hijacked or created to join realities not related to each other, but unfortunately propagandized belonging to a real history, the history of the Greek race. Thus before we analyze and expose some of their myths which are uncountable, we are inclined to say that whatever is considered Greek History is completely based on mythical stories, whose reliability and truthiness is deeply compromised for the mere fact that is based on myths not only by the Modern Greeks and especially philhellenes, but even by the ancient authors. -
Greek Mythology: Heroes
Greek Mythology: Heroes Baldwin’s Mythology Heroes ● Odysseus ● Heracles (Hercules) ● Jason ● Theseus ● Achilles ● Perseus Odysseus ● Legendary Hero in Greek Mythology ● King of the island of Ithaca and the protagonist in Homer’s epic The Odyssey ● It all started over a woman... Odysseus (continued) ● Odysseus was one of the suitors that wanted to marry Helen, step-daughter of king Tyndareus of Sparta. However, there suitors, so they drew straws. As a result, Menelaus drew the lucky straw, while Odysseus married Penelope. ● Helen was abducted by Prince Paris of Troy, so all suitors were summoned to help Menelaus in his quest to bring her back. ● After the Greeks reached Troy and the war started, Odysseus played a particularly influential role as an advisor. He maintained the morale of the Greeks in a high level and managed to keep everyone sane. Odysseus (continued) ● Odysseus was most famous in the war for his contribution to create the Trojan Horse, a huge wooden horse that was supposed to be a gift to the Trojans by the retreating Greeks. The Trojans accepted the gift joyfully and started celebrating around it. When the night fell and everyone was drunk, the Greek warriors, who had hidden in the hollow body of the horse, revealed themselves and slew the Trojans, winning the war. Hercules ● Heracles (or Hercules) is best known as the strongest of all mortals, and even stronger than many gods. ● He was the last mortal son of Zeus, and the only man born of a mortal woman to become a god upon his death. ● Terrible things happened to him because of Hera's hatred, a hatred that he was not responsible for. -
Theseus, Helen of Troy, and the House of Minos
Anistoriton Journal, vol. 11 (2008-2009) 1 Theseus, Helen of Troy, and the House of Minos By John Dana, B.A., M.L.S., M.A. Independent Scholar In February 2006 while on vacation, this author read Bettany Hughes' biography entitled Helen of Troy [1]. In Chapter 6, Ms. Hughes describes a liaison between a very young Helen and very old Theseus, king of Athens. Ms. Hughes' description generated the kernel of an idea. If Helen was about 12 years old and Theseus was about 50 years old at the time, then this incident occurred about 20 years before the beginning of the Trojan War -- assuming that Helen was about 30 years old when she journeyed to Troy. Theseus was alive about 20 years before the Trojan War! What an eye opening moment! If true, then what would be the approximate date when Theseus participated in Athens 3rd Tribute to Knossos [2] ? One could calculate an approximate date by constructing a time line or chronology. The second part of this short discourse is to use the time line. By constructing the time line one could discern something about Minos, King of Knossos. References to Minos abound , but they are somewhat contradictory. Sir Arthur Evans named a entire civilization -- the Minoan Civilization -- after him; this may have been a misnomer. There are also references to ethnicity – especially languages spoken on the Aegean Islands – relating to King Minos; these are crucial to gain an understanding of who were the Minoans and what was the Minoan Civilization. 1. The Trojan War. -- One crucial point in constructing the time line was assigning a date to the beginning of the Trojan War. -
Zeus in the Greek Mysteries) and Was Thought of As the Personification of Cyclic Law, the Causal Power of Expansion, and the Angel of Miracles
Ζεύς The Angel of Cycles and Solutions will help us get back on track. In the old schools this angel was known as Jupiter (Zeus in the Greek Mysteries) and was thought of as the personification of cyclic law, the Causal Power of expansion, and the angel of miracles. Price, John Randolph (2010-11-24). Angels Within Us: A Spiritual Guide to the Twenty-Two Angels That Govern Our Everyday Lives (p. 151). Random House Publishing Group. Kindle Edition. Zeus 1 Zeus For other uses, see Zeus (disambiguation). Zeus God of the sky, lightning, thunder, law, order, justice [1] The Jupiter de Smyrne, discovered in Smyrna in 1680 Abode Mount Olympus Symbol Thunderbolt, eagle, bull, and oak Consort Hera and various others Parents Cronus and Rhea Siblings Hestia, Hades, Hera, Poseidon, Demeter Children Aeacus, Ares, Athena, Apollo, Artemis, Aphrodite, Dardanus, Dionysus, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces [2] Roman equivalent Jupiter Zeus (Ancient Greek: Ζεύς, Zeús; Modern Greek: Δίας, Días; English pronunciation /ˈzjuːs/[3] or /ˈzuːs/) is the "Father of Gods and men" (πατὴρ ἀνδρῶν τε θεῶν τε, patḕr andrōn te theōn te)[4] who rules the Olympians of Mount Olympus as a father rules the family according to the ancient Greek religion. He is the god of sky and thunder in Greek mythology. Zeus is etymologically cognate with and, under Hellenic influence, became particularly closely identified with Roman Jupiter. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort is Dione: according to the Iliad, he is the father of Aphrodite by Dione.[5] He is known for his erotic escapades. -
Ancient Thunder Study Guide 2021 1
BTE • Ancient Thunder Study Guide 2021 1 Ancient Thunder Study Guide In this study guide you will find all kinds of information to help you learn more about the myths that inspired BTE's original play Ancient Thunder, and about Ancient Greece and its infleunce on culture down to the present time. What is Mythology? ...................................................2 The stories the actors tell in Ancient Thunder are called myths. Learn what myths are and how they are associated with world cultures. When and where was Ancient Greece? ..................... 10 The myths in Ancient Thunder were created thousands of years ago by people who spoke Greek. Learn about where and when Ancient Greece was. What was Greek Art like? ..........................................12 Learn about what Greek art looked like and how it inspired artists who came after them. How did the Greeks make Theatre? .......................... 16 The ancient Greeks invented a form of theatre that has influenced storytelling for over two thousand years. Learn about what Greek theatre was like. What was Greek Music like? ..................................... 18 Music, chant, and song were important to Greek theatre and culture. Learn about how the Greeks made music. What are the Myths in Ancient Thunder? ................. 20 Learn more about the Greek stories that are told in Ancient Thunder. Actvities ........................................................................................................... 22 Sources ..............................................................................................................24 Meet the Cast .................................................................................................... 25 2 BTE • Ancient Thunder Study Guide 2021 What is Mythology? Myths are stories that people tell to explain and understand how things came to be and how the world works. The word myth comes from a Greek word that means story. Mythology is the study of myths. -
TM & © DC Comics
Wonder Woman leaps into action. Using her magically indestructible gauntlets, she deflects Medusa’s Drab Ray. TM & © DC Comics. (s11) 11/8/10 5:55:03 PM WW_lookbook_final_eng.indd 1 PLEASE PRINT 3 VERSIONS: 1 AS IS (17.3 X 13.3), 1 AT 90% SCALE (15.57 X 11.9), AND 1 AT 110% SCALE (19.1 X 14.6)... PLEASE PRINT 3 VERSIONS: 1 AS IS (17.3 X 13.3), 1 AT 90% SCALE (15.57 X 11.9), AND 1 AT 110% SCALE (19.1 X 14.6)... Wonder Woman EYES/YeUX Brows/Sourcils: Black Impeccable Brow Pencil / Primer/Base de Maquillage: Prep + Prime Eye with 242 Brush / Designed by Brow Highlight/Touche Lumiere:` Brulé and Lady Justice Lauren Rathbone, Eye Shadows with 224 Brush / Eyelid/Paupiere: ` Painterly Paint Pot M·A·C Artist, UK with 242 Brush, Insurmountable Eye Shadow and Marine Ultra Pigment with 217 Brush / Crease/Creux de L’oeil: Insurmountable and Deep Truth (centre, outer) Eye Shadows with 224 Brush / Liner/Eye-Liner: Rapidblack Penultimate Eye Liner / Lashes/Cils: Bad, Bad, Black Opulash LIPS/LÈVRES Primer/Base de Maquillage: Lip Conditioner Stick SPF 15 / Pencil/Crayon Pour Les Levres: ` Spice Lip Pencil / Lipstick/Rouge a` Levres: ` Marquise d’ Lipstick with 318 Brush SKIN/PeAU Cleanser/Démaquillant: Cleanse Off Oil / Moisturizer/Hydratant: Studio Moisture Cream with 190 Brush / Primer/Base de Maquillage: Prep + Prime Skin with 187 Brush, Fix + / Foundation/Fond de Teint: Studio Sculpt SPF 15 Foundation with 188 Brush / Concealer/ Cache-Cernes: Studio Sculpt Concealer with 227 Brush / Blush/Fard a` Joues: Mighty Aphrodite Powder Blush Duo with 188 Brush -
The Classical Mythology of Milton's English Poems
YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor VIII THE CLASSICAL MYTHOLOGY OF Milton's English poems CHARLES GROSVENOR OSGOOD, Ph.D. NEW YORK HENRY HOLT AND COMPANY igoo Ss9a Copyright, igoo, BY CHARLES GROSVENOR OSGOOD, Ph.D. J^ 7/SS TO PROFESSQR ALBERT S. COOK AND PROFESSOR THOMAS D. SEYMOUR — PREFACE The student who diligently peruses the lines of a great poem may go far toward a realization of its char- acter. He may appreciate, in a degree, its loveliness, strength, and direct hold upon the catholic truth of life. But he will be more sensitive to these appeals, and receive gifts that are richer and less perishable, accord- ing as he comprehends the forces by whose interaction the poem was produced. These are of two kinds the innate forces of the poet's character, and certain more external forces, such as, in the case of Milton, are represented by Hellenism and Hebraism. Their activ- ity is greatest where they meet and touch, and at this point their nature and measure are most easily dis- cerned. From a contemplation of the poem in its gene- sis one returns to a deeper understanding and enjoyment of it as a completed whole. The present study, though it deals with but one of the important cultural influ- ences affecting Milton, and with it but in part, endeav- ors by this method to deepen and clarify the apprecia- tion of his art and teaching. My interest in the present work has found support and encouragement in the opinions of Mr. Churton Collins, as expressed in his valuable book. -
Batwoman and Catwoman: Treatment of Women in DC Comics
Wright State University CORE Scholar Browse all Theses and Dissertations Theses and Dissertations 2013 Batwoman and Catwoman: Treatment of Women in DC Comics Kristen Coppess Race Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/etd_all Part of the English Language and Literature Commons Repository Citation Race, Kristen Coppess, "Batwoman and Catwoman: Treatment of Women in DC Comics" (2013). Browse all Theses and Dissertations. 793. https://corescholar.libraries.wright.edu/etd_all/793 This Thesis is brought to you for free and open access by the Theses and Dissertations at CORE Scholar. It has been accepted for inclusion in Browse all Theses and Dissertations by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. BATWOMAN AND CATWOMAN: TREATMENT OF WOMEN IN DC COMICS A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts By KRISTEN COPPESS RACE B.A., Wright State University, 2004 M.Ed., Xavier University, 2007 2013 Wright State University WRIGHT STATE UNIVERSITY GRADUATE SCHOOL Date: June 4, 2013 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Kristen Coppess Race ENTITLED Batwoman and Catwoman: Treatment of Women in DC Comics . BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts. _____________________________ Kelli Zaytoun, Ph.D. Thesis Director _____________________________ Carol Loranger, Ph.D. Chair, Department of English Language and Literature Committee on Final Examination _____________________________ Kelli Zaytoun, Ph.D. _____________________________ Carol Mejia-LaPerle, Ph.D. _____________________________ Crystal Lake, Ph.D. _____________________________ R. William Ayres, Ph.D. -
Cold War Fantasies: Testing the Limits of the Familial Body Wonder
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by E-space: Manchester Metropolitan University's Research Repository Cold War Fantasies: Testing the Limits of the Familial Body Wonder Woman 1947-1967 was written by Robert Kanigher - the longest writing stint of any in her seventy year history. Kanigher revamped the character in 1958 to fit a more cosy post-Wertham storyline where she lived a fantasy existence on Paradise Island. The images, drawn mainly by Ross Andru and Mike Esposito softened Wonder Woman's image from a warrior woman to a teen romance heroine with a doe-eyes and full lips. Instead of warrior boots she wore Greek sandals tied up with straps around her legs. Kanigher also introduced more stories of life on Paradise Island and they must have been popular with readers because they featured in sixteen out of the twenty-three issues in this era. Also Wonder Woman appeared in the top thirty best selling comics with a readership of over 200,000.1 The demands by readers for more of these stories in letters pages and within the storylines themselves, demonstrate they must have hailed, some aspects of readers' lives in Cold War America. Yet despite her popularity, this era is one of the most overlooked in Wonder Woman scholarship, possibly because the stories were regarded as fairytales told to a teenage female readership. Yet this era throws up some fascinating cultural paradoxes. Wonder Woman posed a problem in 1950s and '60s because she challenged the perceived role of women as reliant on men in family life and the job market.