Myth Made Fact Lesson 16: the Pursuit of Love: Daphne and with Dr
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The Beautiful Galatea [Opéra Comique, in Two Acts; Text by Zell and Genée
The Beautiful Galatea [Opéra comique, in two acts; text by Zell and Genée. First produced in Vienna, 1865.] PERSONAGES. Galatea, the statue. Ganymede, Greek boy. Pygmalion, sculptor. Midas, art patron. [Chorus of Grecians.] The scene is laid in Greece; time, mythological. The opera of "Die Schöne Galatea" ("The Beautiful Galatea"), though of slight construction, is one of Suppé's most melodious works, while the story is a clever setting of the familiar mythological romance in a somewhat modern frame, in which respect it resembles the stories of Helen of Troy and Orpheus and Eurydice, which Offenbach so cleverly travestied. The first act opens with a graceful chorus of Grecians on their way to worship at the temple of Venus, at dawn ("Aurora is awaking in Heaven above"). Ganymede, Pygmalion's servant, declines to go with them, preferring to sleep, and bids them good-by with a lullaby ("With Violets, with Roses, let the Temple be decked"). His master, Pygmalion, who has finished a statue of Galatea, his ideal, also goes to the temple, and Ganymede decides to take a nap. His slumbers are interrupted, however, by Midas, a professional art patron, who has heard of the statue and informs Ganymede that he is ready to buy it, but first wishes to see it. The servant declares it is impossible, as his master is in love with it. Midas makes a further appeal to him in a long descriptive arietta ("My Dear Father Gordias") in which he boasts of his abilities, his patronage, and his conquests. He finally bribes Ganymede to show it to him, and as he stands gazing at it and praising its loveliness, Pygmalion, who has suddenly returned, enters and upbraids them. -
Archaeoacoustics: a Key Role of Echoes at Utah Rock Art Sites
Steven J. Waller ARCHAEOACOUSTICS: A KEY ROLE OF ECHOES AT UTAH ROCK ART SITES Archaeoacoustics is an emerging field of study emanate from rock surfaces where beings are investigating sound in relation to the past. The depicted, as if the images are speaking. Myths intent of this paper is to convey appreciation for attribute echoes to sheep, humans, lizards, the echoes at Utah rock art sites, by recognizing snakes and other figures that are major rock art the importance of their influence both on the themes. Echo-rich Fremont Indian State Park ancient artists, and on modern scientific studies. even has a panel that has been interpreted as The title of this paper is thus intentionally showing the mythological Echo Twin. The worded such that it could be understood in two study, appreciation, and preservation of rock art different but interrelated ways. One, the study acoustics in Utah are encouraged. of sound indicates that echoes were an im- portant factor relative to rock art in Utah. Two, INITIAL STUDIES OUTSIDE UTAH the echoes found to be associated with Utah rock art sites have been particularly helpful in A conceptual connection between sound and developing theories relating sound to past cul- rock art originally occurred to me when visiting tural activities and ideologies. This paper de- European Palaeolithic caves in 1987. A fortui- scribes in a roughly chronological order the tous shout at the mouth of a cave resulted in a events and studies that have led to Utah featur- startling echo. I immediately remembered the ing prominently in the development of archaeo- Greek myth in which echoes were attributed to acoustics. -
MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Ing Items Have Been Registered
ACCEPTANCES Page 1 of 27 August 2017 LoAR THE FOLLOWING ITEMS HAVE BEEN REGISTERED: ÆTHELMEARC Ceara Cháomhanach. Device. Purpure, a triquetra Or between three natural tiger’s heads cabossed argent marked sable. There is a step from period practice for the use of natural tiger’s heads. Serena Milani. Name change from Eydís Vígdísardóttir (see RETURNS for device). The submitter’s previous name, Eydís Vígdísardóttir, is retained as an alternate name. Valgerðr inn rosti. Device. Argent, three sheep passant to sinister sable, each charged with an Elder Futhark fehu rune argent, a bordure gules. AN TIR Ailionóra inghean Tighearnaigh. Device change. Argent, a polypus per pale gules and sable within a bordure embattled per pale sable and gules. The submitter’s previous device, Argent, on a bend engrailed azure between a brown horse rampant and a tree eradicated proper three gouttes argent, is retained as a badge. Aline de Seez. Badge. (Fieldless) A hedgehog rampant azure maintaining an arrow inverted Or flighted sable. Nice badge! Alrikr Ivarsson. Name (see RETURNS for device). The submitter requested authenticity for an unspecified language or culture. Both name elements are in the same language, Old East Norse, but we cannot say for sure whether they are close enough in time to be authentic for a specific era. Anna Gheleyns. Badge (see RETURNS for device). Or, a rabbit rampant sable within a chaplet of ivy vert. Annaliese von Himmelreich. Name and device. Gules, a nautilus shell argent and on a chief Or three crows regardant sable. Annora of River Haven. Name. River Haven is the registered name of an SCA branch. -
Throughout His Writing Career, Nelson Algren Was Fascinated by Criminality
RAGGED FIGURES: THE LUMPENPROLETARIAT IN NELSON ALGREN AND RALPH ELLISON by Nathaniel F. Mills A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in The University of Michigan 2011 Doctoral Committee: Professor Alan M. Wald, Chair Professor Marjorie Levinson Professor Patricia Smith Yaeger Associate Professor Megan L. Sweeney For graduate students on the left ii Acknowledgements Indebtedness is the overriding condition of scholarly production and my case is no exception. I‘d like to thank first John Callahan, Donn Zaretsky, and The Ralph and Fanny Ellison Charitable Trust for permission to quote from Ralph Ellison‘s archival material, and Donadio and Olson, Inc. for permission to quote from Nelson Algren‘s archive. Alan Wald‘s enthusiasm for the study of the American left made this project possible, and I have been guided at all turns by his knowledge of this area and his unlimited support for scholars trying, in their writing and in their professional lives, to negotiate scholarship with political commitment. Since my first semester in the Ph.D. program at Michigan, Marjorie Levinson has shaped my thinking about critical theory, Marxism, literature, and the basic protocols of literary criticism while providing me with the conceptual resources to develop my own academic identity. To Patricia Yaeger I owe above all the lesson that one can (and should) be conceptually rigorous without being opaque, and that the construction of one‘s sentences can complement the content of those sentences in productive ways. I see her own characteristic synthesis of stylistic and conceptual fluidity as a benchmark of criticism and theory and as inspiring example of conceptual creativity. -
MYTHS Echo and Narcissus Greco/Roman the Greeks
MYTHS Echo and Narcissus Greco/Roman The Greeks (and Romans) were among the early monogamous societies. The men, however, seemed to revel in stories of Zeus’ (Jupiter’s) adulterous escapades with goddesses as well as humans, and enjoyed tales of the jealousies of his wife, Hera (Juno), the goddess of marriage and the family. For the full introduction to this story and for other stories, see The Allyn & Bacon Anthology of Traditional Literature edited by Judith V. Lechner. Allyn & Bacon/Longman, 2003. From: Outline of Mythology: The Age of Fable, The Age of Chivalry, Legends of Charlemagne by Thomas Bulfinch. New York: Review of Reviews Company, 1913. pp. 101-103. Echo was a beautiful nymph, fond of the woods and hills, where she devoted herself to woodland sports. She was a favorite of Diana, and attended her in the chase. But Echo had one failing: she was fond of talking, and whether in chat or argument, would have the last word. One day Juno was seeking her husband, who, she had reason to fear, was amusing himself among the nymphs. Echo by her talk contrived to detain the goddess till the nymphs made their escape. When Juno discovered it, she passed sentence upon Echo in these words: “You shall forfeit the use of that tongue with which you have cheated me, except for the one purpose you are so fond of—reply. You shall still have the last word, but no power to speak the first.” This nymph saw Narcissus, a beautiful youth, as he pursued the chase upon the mountains. -
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House, -
Greek Mythology and Medical and Psychiatric Terminology
HISTORY OF PSYCHIATRY Greek mythology and medical and psychiatric terminology Loukas Athanasiadis A great number of terms in modern psychiatry, Narcissus gave his name to narcissism (ex medicine and related disciplines originate from treme self-love based on an idealised self-image). the Greek, including pathology, schizophrenia, He was a young man extremely proud of his ophthalmology, gynaecology, anatomy, pharma beauty and indifferent to the emotions of those cology, biology, hepatology, homeopathy, allo who fell in love with him. A goddess cursed him pathy and many others. There are also many to feel what it is to love and get nothing in return. terms that originate from figures from ancient He subsequently fell in love with his own image Greek mythology (or the Greek words related to when he saw his reflection in the water of a those figures) and I think that it might be fountain, and believed that this image belonged interesting to take a look at some of them. to a spirit. Every time he tried to embrace the Psyche means 'soul' in Greek and she gave her image it disappeared and appeared without names to terms like psychiatry (medicine of the saying a word. At the end the desperate soul), psychology, etc. Psyche was a mortal girl Narcissus died and was turned into a flower that with whom Eros ('love', he gave his name to still bears his name. erotomania, etc.) fell in love. Eros's mother Echo was a very attractive young nymph who Aphrodite had forbidden him to see mortal girls. always wanted to have the last word. -
Daphne and Apollo (From the Ovide Moralisž)
Daphne and Apollo (from the Ovide MoralisŽ) translated by Ross G. Arthur In parentheses Publications Old French Series Cambridge, Ontario 2000 If anyone would like to know how and why the laurel first came into existence, IÕll tell him without delay. Daphne was the first object of PhoebusÕ love; according to the story, he did not love her just by chance, but through the anger and the vengeance of the god of love, who hated him. For Cupid once was enjoying himself like a child full of delight, and was putting all his attention and efforts into feathering his arrows in order to aim them at lovers. He had a bow and a quiver full of arrows, and he was behaving nobly and elegantly. Phoebus Apollo, who had recently killed the serpent Phiton, mocked him and said, ÒWhy do you have that bow hanging from your neck, child? Tell me. I forbid it; put it down, and those arrows as well! Such equipment is not appropriate for you, for you are without doubt too weak. They suit me better. Give them to me, for I am stronger, and I can shoot better. With my arrows, just now, I killed the marvelous serpent Phiton, which ruled a whole acre of land. You should not have a bow or arrows; rather, let them be mine. You ought to be satisfied if I let you carry twigs and straws for inspiring passionate love: it isnÕt right for you to emulate me.Ó Cupid replied disdainfully: ÒSoon enough IÕll make you aware of my power, and youÕll be able to see for yourself whether my arrow can pierce. -
STAGE 4 GODS of GREECE APHRODITE the Ancient Greeks Adored Their Gods and Used Them Love and Beauty Were to Explain and Control Lots of Aspects of Their Lives
Unit focus: Ancient Greece Text focus: Information Text (750L) Ancient Greek Gods STAGE 4 GODS OF GREECE APHRODITE The Ancient Greeks adored their gods and used them Love and beauty were to explain and control lots of aspects of their lives. Lots signifi cant to the Ancient of the Greek gods later went on to be adopted by the Greeks. They named Aphrodite Ancient Romans. These are fi ve of their most important. as the goddess of both. She was famously the most beauti ful of ARES all the goddesses. Ares was the Ancient Greek God In pictures, she is oft en pictured of War. He was a son of Zeus with Eros, the God of Love. and Hera and was infatuated with Aphrodite. It was believed that Aphrodite could cause people to fall in It was thought that Ares loved love. Fighti ng couples would to see people fi ghti ng each oft en pray to her to help them other. He would ride into ba� le make up. in a chariot pulled by fi re- ATHENA APOLLO Apollo was the Ancient Greek breathing horses. As the Goddess of Wisdom, Athena gave her name to the God of the Sun. He was a child city of Athens. of Zeus and the protector of the ZEUS city of Delphi. It was rumoured The Ancient Greeks considered Athena was also considered to that he wore a laurel wreath on Zeus to be the king of all their play a part in wars. Unlike Ares, his head to honour his love for gods. -
And Type the TITLE of YOUR WORK in All Caps
IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND (Under the Direction of Sarah Spence) ABSTRACT Though Ovid presents readers of his Metamorphoses with countless episodes of lovers uniting in a temporary physical closeness, some of his characters find themselves so affected by their love that they become inseparably merged with the ones they desire. These scenarios of “merging bodies” recall Lucretius’ explanations of love in De Rerum Natura (IV.1030-1287) and Aristophanes’ speech on love from Plato’s Symposium (189c2-193d5). In this thesis, I examine specific episodes of merging bodies in the Metamorphoses and explore the verbal and conceptual parallels that intertextually connect these episodes with De Rerum Natura and the Symposium. I focus on Ovid’s stories of Narcissus (III.339-510), Pyramus and Thisbe (IV.55-166), Salmacis and Hermaphroditus (IV.276-388), and Baucis and Philemon (VIII.611-724). I also discuss Ovid’s “merging bodies” in terms of his ideas about poetic immortality. Finally, I consider whether ancient representations of Narcissus in the visual arts are indicative of Ovid’s poetic success in antiquity. INDEX WORDS: Ovid, Metamorphoses, Intertextuality, Lucretius, De Rerum Natura, Plato, Symposium, Narcissus, Pyramus, Thisbe, Salmacis, Hermaphroditus, Baucis, Philemon, Corpora, Immortality, Pompeii IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND B.A., Denison University, 2012 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2014 © 2014 Jaclyn Rene Friend All Rights Reserved IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND Major Professor: Sarah Spence Committee: Mark Abbe Naomi Norman Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2014 ACKNOWLEDGEMENTS I would like to thank Dr.