The Human Word
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Greek and Roman Mythology and Heroic Legend
G RE E K AN D ROMAN M YTH O LOGY AN D H E R O I C LE GEN D By E D I N P ROFES SOR H . ST U G Translated from th e German and edited b y A M D i . A D TT . L tt LI ONEL B RN E , , TRANSLATOR’S PREFACE S Y a l TUD of Greek religion needs no po ogy , and should This mus v n need no bush . all t feel who ha e looked upo the ns ns and n creatio of the art it i pired . But to purify stre gthen admiration by the higher light of knowledge is no work o f ea se . No truth is more vital than the seemi ng paradox whi c h - declares that Greek myths are not nature myths . The ape - is not further removed from the man than is the nature myth from the religious fancy of the Greeks as we meet them in s Greek is and hi tory . The myth the child of the devout lovely imagi nation o f the noble rac e that dwelt around the e e s n s s u s A ga an. Coar e fa ta ie of br ti h forefathers in their Northern homes softened beneath the southern sun into a pure and u and s godly bea ty, thus gave birth to the divine form of n Hellenic religio . M c an c u s m c an s Comparative ythology tea h uch . It hew how god s are born in the mind o f the savage and moulded c nn into his image . -
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. -
Pythios and Pythion: the Spread of a Cult Title J.K
Mediterranean Historical Review Vol. 22, No. 1, June 2007, pp. 57–69 Pythios and Pythion: The Spread of a Cult Title J.K. Davies The epithet Pythios/Pythion, unequivocally denoting the cult of Apollo of Delphi, came to have a very widespread distribution throughout the Greek world, comparable only to that of Zeus Olympios. Pre-Hellenistic attestations are summarily reported, showing concentrations (e.g., Attika, Argolis, Thessaly, Aegean islands, Krete), significant vacua (e.g., Boiotia, north-western Greece), and overlaps with the epithets Delphinios and Pythaieus. Likely periods and mechanisms of its spread are sketched, as are possible explanations (colonization, oracles, purification), though without overt preference for any one model of network-formation. Keywords: Apollo; Cult; Oracle; Purification; Distribution It is a cliche´ of scholarship that the terms Pythios and Pythion derive from Pytho, the earliest attested name for the cultic area later known as Delphoi,1 and that they came to refer unequivocally to Apollo as the principal god of the upper sanctuary there. They therefore belong among the ‘locational’ epithets of the god, parallel to Klarios or Didymeus, not among those derived from function or from association or identification with animals.2 As such, they pose a problem, for it was unusual for locational epithets to spread far beyond their primary sanctuary, still less to show such widespread attestation throughout much of the Greek-speaking world: Zeus Olympios provides perhaps the only true comparison, with even Eleusinian Demeter well behind. Their distribution therefore needs an explanation, and one which is couched not just in terms of geography or of the ‘profile’ of the god but also, and primarily, in terms of human needs and of the ways in which a specific cult could be transferred, or replicated/cloned, elsewhere. -
Defining Orphism: the Beliefs, the Teletae and the Writings
Defining Orphism: the Beliefs, the teletae and the Writings Anthi Chrysanthou Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Languages, Cultures and Societies Department of Classics May 2017 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. I This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Anthi Chrysanthou. The right of Anthi Chrysanthou to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. II Acknowledgements This research would not have been possible without the help and support of my supervisors, family and friends. Firstly, I would like to express my sincere gratitude to my supervisors Prof. Malcolm Heath and Dr. Emma Stafford for their constant support during my research, for motivating me and for their patience in reading my drafts numerous times. It is due to their insightful comments and constructive feedback that I have managed to evolve as a researcher and a person. Our meetings were always delightful and thought provoking. I could not have imagined having better mentors for my Ph.D studies. Special thanks goes to Prof. Malcolm Heath for his help and advice on the reconstruction of the Orphic Rhapsodies. I would also like to thank the University of Leeds for giving me the opportunity to undertake this research and all the departmental and library staff for their support and guidance. -
Commentary: Peitho and the Consolation of Philosophy: a Reply to Blake D
University of Windsor Scholarship at UWindsor OSSA Conference Archive OSSA 12: Evidence, Persuasion & Diversity Jun 5th, 3:01 PM - 4:00 PM Commentary: Peitho and the Consolation of Philosophy: A Reply to Blake D. Scott G Thomas Goodnight University of Southern California Follow this and additional works at: https://scholar.uwindsor.ca/ossaarchive Part of the Philosophy Commons, Politics and Social Change Commons, and the Sociology of Culture Commons Goodnight, G Thomas, "Commentary: Peitho and the Consolation of Philosophy: A Reply to Blake D. Scott" (2020). OSSA Conference Archive. 30. https://scholar.uwindsor.ca/ossaarchive/OSSA12/Friday/30 This Commentary is brought to you for free and open access by the Conferences and Conference Proceedings at Scholarship at UWindsor. It has been accepted for inclusion in OSSA Conference Archive by an authorized conference organizer of Scholarship at UWindsor. For more information, please contact [email protected]. Goodnight Commentary on Blake D. Scott, “Doing Things with Argument: Assertion, Persuasion and Performance.” G. THOMAS GOODNIGHT Annenberg School of Communication The University of Southern California 3506 Watt Way Los Angeles, California, USA Author Contact: [email protected] When a speaker addresses an audience, presence graces the act of argumentation. Blake Scott turns to Chaim Perelman who, in his view, rests argument in an unfolding a relationship with life and extrinsic and intrinsic time-bound choices (Scott, 2020). The end a speaker addressing an audience through argument is adherence, not belief or attitude change. Epistemic certification of truth, validity, or effective arguments results from critical inquiries of product (logic), procedure (dialectic), or social process (rhetoric) of argumentation. -
Peitho, Dolos, and Bia in Three Late Euripidean Tragedies
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-30-2021 2:00 PM Peitho, Dolos, and Bia in Three Late Euripidean Tragedies Christian Bot, The University of Western Ontario Supervisor: Brown, Christopher G., The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Master of Arts degree in Classics © Christian Bot 2021 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Classical Literature and Philology Commons Recommended Citation Bot, Christian, "Peitho, Dolos, and Bia in Three Late Euripidean Tragedies" (2021). Electronic Thesis and Dissertation Repository. 7778. https://ir.lib.uwo.ca/etd/7778 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. ii Abstract The themes of peitho (persuasion), dolos (trickery), and bia (violence or physical force) are central to the action of the three late Euripidean tragedies that I explore: Iphigenia in Tauris, Iphigenia in Aulis, and the Bacchae. I examine how these themes influence characters' interpersonal relations, drive plot development, and determine the "mood" of each play in terms of a spectrum from optimism to pessimism. Summary for Lay Audience I examine three plays by the Ancient Greek tragedian Euripides (ca. 480-406 BC), each of them written during the later stages of his career: Iphigenia in Tauris (ca. 412 BC), Iphigenia in Aulis, and the Bacchae (both produced posthumously in 405 BC). -
A Family Gathering at Rhamnous? Who's Who on the Nemesis Base
A FAMILY GATHERING AT RHAMNOUS? WHO'S WHO ON THE NEMESIS BASE (PLATES 27 AND 28) For Marina T HE DATE of the introductionof the cultof Nemesisat Rhamnoushas notbeen deter- mined with any degree of certainty,but the associationof the goddess with the Athe- nian victoryat Marathon, made by ancient literarysources, has led some scholarsto suggest that the cult was founded, or at least expanded, in the aftermath of the Persian Wars.1 I An earlier version of this article was submitted as a school paper to the American School of Classical Studies at Athens in 1989. Later versions were presentedorally in 1990 at the AmericanAcademy in Rome, the CanadianAcademic Centre in Rome, and the annual meeting of the ArchaeologicalInstitute of Americain San Francisco. I am grateful to the Fulbright Foundation and the Graduate Division of the University of California, Berkeley, whose support allowed me to undertakepreliminary research for this paper in Athens; to the Luther Replogle Foundation whose generosity allowed me to continue my work as Oscar T. Broneer Fellow in Classical Archaeologyat the AmericanAcademy in Rome;to John Camp who introducedme to the problemsof the Rhamnous base; and to Christina Traitoraki for her kind assistancein the early stages of the preparationof this paper. I have profited greatly from the insights, suggestions, and criticisms of M. Bell, J. Boardman,D. Clay, A. S. Delivorrias, C. M. Edwards, E. S. Gruen, E. Harrison, D. C. Kurtz, M. Mar- vin, M. M. Miles, J. Neils, M. C. J. Putnam, B. S. Ridgway, A. F. Stewart, B. A. Stewart, and J. M. -
[PDF]The Myths and Legends of Ancient Greece and Rome
The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia -
On Greek Religion and Mythology. the Demeter Myth
^be ©pen Court A MONTHLY MAGAZINE Bcvoteb to tbe Science of IRelfgfon, tbe IRelfgfon ot Science, an& tbe Bxtensfon of tbe IReltglous parliament li^ea Editor: Dr. Paul Carus. I E. C. Hbgeler. /tssormies. Assistant -j Editor: T. J. McCormack. ^^^^ Carus. VOL. XIV. (no. 11) November, 1900. NO. 534 CONTENTS: Frontispiece. The Farnese Herakies. On Greek Religion and Mythology. The Demeter Myth. —Orpheus. —Her- mes. —Prometheus. —Herakies. —Heroes, With Illustrations from the Monuments of Classical Antiquity. Editor .• 641 The Unshackling of the Spirit of Inquiry. A Sketch of the History of the Conflict Between Theology and Science. (Concluded.) With Por- traits of Roger Bacon, Giordano Bruno, and Montaigne. Dr. Ernst Krause (Carus Sterne), Berlin 659 The Eleusinian Mysteries. II. Primitive Rites of Illumination. The Rev. Charles James Wood, York, Penn 672 The International Arbitration Alliance. An Address Read Before the Peace Congress, Paris, 1900. With the Constitution Presented for Adop- tion by Mr. Hodgson Pratt. Dr. Moncure D. Conway, New York. 683 Christian Missions and European Politics in China. Prof. G. M. Fiamingo, Rome 689 Chinese Education. With Portraits of the Chinese Philosophers, Chow- kung, Chwang-tze, and Mencius. From Eighteenth Century Jap- anese Artists. Communicated 694 The Congress of the History of Religions and the Congress of Bourges. Lucien Arr6at 700 French Books on Philosophy and Science 701 The Ingersoll Lectureship on Immortality 702 Book Notices 704 CHICAGO ©be ©pen Court Ipublisbino Companie LONDON : Kegan Paul, Trench, Trubner & Co., Ltd. Per copy, 10 cents (sixpence). Yearly, $1.00 (in the U. P. U., 58. 6d,). Copyright, 1900, by The Open Court Publishing Co. -
Aeschylean Drama and the History of Rhetoric
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2017 Aeschylean Drama and the History of Rhetoric Allannah K. Karas The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2111 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ΑESCHYLEAN DRAMA AND THE HISTORY OF RHETORIC by ALLANNAH KRISTIN KARAS A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 © 2017 ALLANNAH KRISTIN KARAS All Rights Reserved ii AESCHYLEAN DRAMA AND THE HISTORY OF RHETORIC by Allannah Kristin Karas This manuscript has been read and accepted for the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Dee Clayman Chair of Examining Committee Date Dee Clayman Executive Officer Supervisory Committee: Dee Clayman Joel Lidov Lawrence Kowerski Victor Bers (Yale University) THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Aeschylean Drama and the History of Rhetoric by Allannah Kristin Karas Advisor: Professor Dee Clayman This dissertation demonstrates how the playwright Aeschylus contributes to the development of ancient Greek rhetoric through his use and display of πειθώ (often translated “persuasion”) throughout the Oresteia, first performed in 458 BCE. In this drama, Aeschylus specifically displays and develops πειθώ as a theme, a goddess, a central principle of action, and an important concept for his audience to consider. -
An Analysis of Kate Soper's Opera Here Be Sirens A
AN ANALYSIS OF KATE SOPER’S OPERA HERE BE SIRENS A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Evan Kassof May 2021 Examining Committee Members: Dr. Cynthia Folio, Advisory Chair, Music Studies Dr. Andrea Clearfield, Co-Advisor, Composition Dr. Michael Klein, Committee Member, Music Studies Dr. Yayoi Uno Everett, External Member, University of Illinois Chicago ii © Copyright 2020 By Evan Kassof All Rights Reserved - iii ABSTRACT In this study, I present three approaches to understanding Kate Soper’s 2014 opera Here be Sirens. In the first chapter, I develop an analytical model using Jacques Lacan’s theory of the mirror stage as a mapping for the evolution of the sirens Peitho and Polyxo. I argue that their evolutionary arcs together form one complete cycle of the mirror stage, where Peitho begins the opera immediately before the mirror stage and finishes well in the middle, while Polyxo starts in the middle of the mirror stage and is ultimately able to sublimate out of it. With this mapping in hand, elements of the musical and dramaturgical unfolding are contextualized, and most importantly, the relationship between speaking and singing is understood. In the second chapter, I look at the diegetic/nondiegetic orientation of the opera’s musical discourse, the narratological registers within which the opera unfolds, and the role eclectic musical styles play in the narrative and in the perception and meaning of time. Together, these three windows into the work illuminate a complex, dynamic set of interactions that generate an astonishingly novel but immediately accessible work. -
Spring - Summer 2020 1 HELIOS Spring - Summer 2020
Spring - Summer 2020 1 HELIOS Spring - Summer 2020 Helios is the god and personification of the Sun, worshiped by the ancient Greeks. Even today, the Sun is still a focus of adoration for its supernatural qualities. Stroking sunrays have the transformative ability to heal, beautify and bring happiness to souls, and to paint bodies with a healthy bronze luminosity. The piercing brilliance of this glowing sphere gives life to colours and with its shimmering authority it rules the skies even on cloudy days. In fact, so commanding is the planet at the center of our solar system that this Zeus+ Δione 2020 spring/ summer collection, titled ‘Helios’, is dedicated to sun worship. The overall colour palette is saturated with glowing beige hues as a way to reflect the collection back towards the beaming planet. Subtle sunny glimmers feature in design detailing such as prints, embroideries and accents also. As well as all the shades of ivory and gold, the colour palette features an array of richly warm tones. Zeus+ Δione signature spathoto silk comes in coral pink and glowing orange. With embroidery inspired by traditional Cretan skirt decorations, linen and raw silk caftans in white and beige add brilliance to the colour world. 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 1 page 4 - 5 page 14 - 15 page 16 page DRESS CASSANDRA CLDR390 003 DRESS CYCLADES CLDR398 190 TOP DANAE CLTP209 003 IVORY ACETATE VISCOSE JUMPSUIT LION CLJU019 003 IVORY ACETATE VISCOSE