DOCSLIB.ORG

Animated by Ray Harryhausen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Animated by Ray Harryhausen Unit of Study 5 6th Grade VAPA Lesson Mythological Movie Motifs Animated By Ray Harryhausen http://ecx.images-amazon.com/images/I/51WNMTYA9qL.jpg Big Idea Narrative characters change throughout a dramatic story arc. Essential Question How is dramatic arc revealed through a character’s experiences and adventures? Background Information: Greek mythology generates excitement in cinematic adaptations. More popular myths are often reinvented for each new generation. However, someone has to read the original myth determine how to best represent the dramatic adventures of the hero through a variety of conflicts. Person vs. self/nature/fate/gods/man/woman/monster all integrate to communicate the hero’s journey. The Golden Fleece, or Jason and the Argonauts, is one such tale that has received repeated attention on the big screen. VAPA Visual Arts Standards Develop Perceptual Skills and Visual Arts Vocabulary 1.2 Discuss works of art as to theme, genre, style, idea, and differences in media 1.3 Describe how artists can show the same theme by using different media and styles. Skills, Processes, Materials, and Tools 2.1 Use various observational drawing skills to depict a variety of subject matter 2.3 Create a drawing, using varying tints, shades, and intensities. Communication and Expression Through Original Works of Art 2.5 Select specific media and processes to express moods, feelings, themes, or ideas Role and Development of the Visual Arts 3.1 Research and discuss the role of the visual arts in selected periods of history, using a variety of resources (both print and electronic). 3.2 View selected works of art from a culture and describe how they have changed or not changed in theme and content over a period of time. Derive Meaning 4.1 Construct and describe plausible interpretations of what they perceive in works of art. Connections and Applications 5.1 Research how art was used in theatrical productions in the past and in the present 5.3 Create artwork containing visual metaphors that express the traditions and myths of selected cultures. Learning Objective The learner will analyze various examples of literary conflict in an ancient Greek myth by reinterpreting the story with a content driven illustration, a movie poster. Materials 12X18 white drawing paper oil pastels colored pencils Digital art images (not crayons charcoal sticks copyrighted) Colored chalk/pastels Procedure 1. Read aloud a brief version of Jason and the Argonauts at http://www.greek-gods.info/greek- heroes/jason-and-the-argonauts/ or a resource of your choice. 2. View movie posters from the 1963 film, Jason and the Argonauts and contrast with the 2000 film. http://thecitylovesyou.com/cinerex/wp-content/uploads/2012/03/POSTER-JASON-AND-THE-ARGONAUTS1.jpg http://www.blogazine.in.th/sites/default/files/blogpicture/%5Byyyy%5D/%5Bmm%5D/jason_and_the_argonauts.jpg http://40.media.tumblr.com/c83ca1c2df07200bec2dfdf349f75135/tumblr_nj2a0zMoWN1qdezf9o1_1280.jpg https://www.movieposter.com/posters/archive/main/23/b70-11825 http://31.media.tumblr.com/9fcf8f671d3e0af974c3a99be700c0e0/tumblr_mk7zifLnV11qh35m6o1_1280.jpg http://images.losmovies.tv/movie/jason_and_the_argonauts_2000.jpg Graphic novels also contain modern depiction of Greek myths. (2000 film) http://www.capstoneclassroom.com/product/covers_lg/9781434211729.jpg http://www.gwthomas.org/Jason%20cov%2000a.jpg 3. Guide students in a symbolic discussion of the myth by using the ancient Greek philosopher’s questioning technique of Socratic Dialogue. In this method, the answers are not given, but layers of questioning are submitting to the class to lead them toward self-discovery of possible interpretations of the picture. What is pictured in the foreground? Why is the man focused and clear instead of pixelated, like Zues? For that matter, why is Zues seemingly a part of the temple’s pillar? What shape is Jason contained within? How does this link to ancient Greek pottery? Who is the woman inside his head? If she is Hera, Zues’s wife, why is she there instead of with Zues? Why isn’t Zues facing Jason? Why is he ghostlike, or ethereal? Through Socratic dialogue, students will reveal to themselves the nature of the polytheistic pantheon of anthropomorphic deities who sometimes helped, and sometimes hurt humans for their own whims. A discussion of the external appearance of handsome Jason vs. the internal conflicts and motivations that drove him is further explained by the multi-headed hydra. As one problem (neck) is hacked off, two grow in its place as the story progresses. Challenge students to provide examples of literary conflict referencing the posters and the read-aloud of Jason and the Argonauts. Literary Conflict: Man vs. self. Learners note his personal struggle with greed, fear, and how he finds the conviction to lead the Argonauts through many challenges. What role does Hera play in this journey? Man vs. nature. Scenes from the story are recorded where ocean currents, earthquakes, and natural phenomena occur that affected Greek mariners. Man vs. man. His conflict with his uncle Pelias, drives much of the stories events, as he his seeking to reclaim his father’s throne. His method of assembling the Argonauts with Hercules is also noted. Man vs. monster. The multi-headed hydra represents multiple conflicts. Various natural phenomena are represented by sea monsters, as well as Talos, an ancient guardian. Man vs. gods. Due to their anthropomorphism, Greek deities were capable of jealousy, hatred, love, and were motivated by these in their interactions with humans. Like pieces on a game board, Jason confronts even these. Man vs. fate. Even death itself is represented in his quest for the golden fleece, as he confronts the children of the hydra’s teeth. 4. Students read a Greek myth from their Houghton Mifflin/Harcourt texts. D’Aulaires Book of Greek Myths is an excellent resource with ample storytelling variety and complexity. Brainstorm the literary conflicts confronting the myth’s protagonist. Determine key experiences, conflicts, and decisions that form the character’s identity, whether the consequences for those decision be positive or negative. Identify one conflict to focus on in the myth movie poster. To promote visual thinking and reflection, a thumbnail click art web search could helpful. Students begin to synthesize images into a photo mosaic as they prepare for their movie poster illustration. Post for students to reference. https://c1.staticflickr.com/1/174/475479747_b56358afde.jpg http://upload.wikimedia.org/wikipedia/commons/6/61/Selinunte_-_Templi_Orientali_(Temple_E)_18.JPG https://c2.staticflickr.com/4/3362/3567635422_2f2f6fa4f8_z.jpg?zz=1 http://fc05.deviantart.net/fs70/i/2010/050/7/7/Clash_of_the_Titans_Wallpaper_by_laselwoo.jpg For example, students might represent a mythic character verses him or herself in a drawing that represents the inner struggle against self, doubt, fear, or loneliness. An ambitious student could choose to represent multiple conflicts revealed in the story in an illustrated mosaic. 5. Students use their preferred medium to represent their myth’s conflict. For example, an image within a monster’s tooth, or a skull reflected from a close-up of a retina could be a representation of Man vs. monster or Man vs. fate. The eyes of Zeus through The temple stoop is blocked by Harpy with the Argo and Jason Zeus’s thunderbolts and on her wings. thunderbolts gaze down on the Argo between conflicts. monsters. The mind’s eye of Jason is The polarized goal of the golden Greek inspired pottery portrays revealed as he observes the fleece is obstructed by the hydra the hydra while the goddess clashing rocks. under the stern gaze of Zeus. Hera looks upon the Argo sailing between the clashing rocks. When drawing, frequently students complain they can’t think of anything to illustrate, and are deeply concerned about the quality of their work in an era where professional images are a mouse click away. It is appropriate, however, to provide a sampling of images from other artist’s depictions of Greek myths, including original Greek pottery depicting these stories, recent film clips, and the pages of the text itself (HM/Harcourt/D’Aulaire’s Book of Greek Myths). Students will need to rough sketch their ideas in class, and possibly use the free download of photo editing software to enhance a photo collage that is of interest to them. Students who enjoy digital media might develop a PhotoShop/Corel Draw movie poster versus pastel, or create a collage using both mediums. Assessment and/or Evaluation Poster Rubric: Assignment Component 4 3 2 The illustration reflects Variety is used with color Color choices are Limited color to enhance personal choices with choice with images in the intention, with in focus the image. Everything is varying tints, shades, and foreground depicted in and blurred images the same size and intensities different intensity than the intentionally represented. proportion. background Little negative space remains. A visual metaphor May contain text, but Abstract images enhance a 1:1 correspondence to a represents one or more enveloped and warped to direct representation of scene from the story, conflicts from the Greek enhance the image. story elements. A blend of resembling a picture from myth. Images abstractly formal and abstract. an event directly sketched. communicate the conflict encountered. Score 1: no attempt Write: Artists write a paragraph statement describing their movie poster’s analysis of the dramatic arc, but leave it turned over. On the back, students “walk the gallery” by visiting one another’s poster, and writing what myth they think is being depicted, and some details concerning the experiences and adventure of the protagonist. They must compliment how the artist has chosen to depict the subject matter of their chosen myth, whether it be a literal montage or symbolic synthesis of myth’s motifs. Challenge: Ask a perceptive question, rather than leave a comment, to promote further interpretation by the artist.
Load more

Recommended publications
  • Mythic Bio-Techne in Classical Antiquity: Desire, Hope, and Dread
    Mayor, Mythic Bio-Techne, 1 Mythic Bio-Techne in Classical Antiquity: Desire, Hope, and Dread Adrienne Mayor Biotechnique Exhibit Catalog, Yerba Buena Center for the Arts, 2007 The apprehension and exuberance (rational or otherwise) evoked by obscuring the lines between the natural and unnatural, art and science, life and death, might seem to be new constellations of human emotions called into being by uniquely modern biotechnological advances. Concepts of replicating, amplifying, and creating life itself— and the ambivalence that surrounds such issues—have very ancient roots, and were explored in Greek mythology and art, thousands of years before the advent of modern science. Ancient narratives about artificial life, surpassing human limits, and controlling potentially dangerous biotechnologies feature familiar legendary figures: Hercules, Medea, Daedalus, Pandora. Classical stories describing what the ancient Greeks might have termed bio- techne (bios, life, crafted through the art of science, techne) eerily foreshadow the ways that contemporary feelings of optimism about modern biotechnology vie with a sense of dread. In classical antiquity, as in modernity, cultural dreams and nightmares about bio-techne Mayor, Mythic Bio-Techne, 2 inspired artistic endeavors. Artisans created hybrid mythological life- forms for public display. Bio-techne myths led playwrights like Euripides and Sophocles to produce haunting dramatic performances, and artists illustrated the stories in vase paintings and sculpture. These classical artifacts continue to have powerful impacts on modern audiences. The stories discussed in this essay help to place the seemingly modern idea of manipulating life within early mytho-historic traditions. The examples I’ve selected fall into four, often overlapping categories.
    [Show full text]
  • Sailing Into the Past: Encountering the Monstrous in Apollonius’ Argonautica
    Sailing into the Past: Encountering the Monstrous in Apollonius’ Argonautica by Edgar Adrian García, B.A. A Thesis In Classics Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved Dr. David Larmour Chair of Committee Dr. Donald Lavigne Mark Sheridan Dean of the Graduate School May, 2015 Copyright 2015, Edgar García Texas Tech University, Edgar A. García, May 2015 ACKNOWLEDGMENTS There are a number of people who have offered me invaluable support over the course of completing this study. First of all, I would like to thank the members of my committee for their guidance and enthusiasm. David Larmour has provided feedback on numerous versions of this thesis. His seminars on both Archaic Greek Lyric and Hellenistic poetry allowed me to gain a deeper appreciation for poetry and an understanding of intertextuality, narratology, and other literary techniques that have been invaluable to both this thesis and my growth as a scholar. Don Lavigne provided many brilliant comments on the metapoetic elements at play in Hellenistic poetry. Don was always kind enough to bring a critical and encouraging attitude to my work. I would like to thank Corby Kelly for his support and encouragement. His seminars on Tibullus and Oidipous Tyrannos my first semester in the program introduced me to the world of literary scholarship. Despite the initial growing pains, Corby was always very supportive and I believe his seminars provided the groundwork that allowed my time in the program to be academically and personally successful. I would also like to thank Christopher Witmore whose seminar on the chorography of the Argolid and Corinthia completely my theoretical views and interests.
    [Show full text]
  • Hephaestus the Magician and Near Eastern Parallels for Alcinous' Watchdogs , Greek, Roman and Byzantine Studies, 28:3 (1987:Autumn) P.257
    FARAONE, CHRISTOPHER A., Hephaestus the Magician and Near Eastern Parallels for Alcinous' Watchdogs , Greek, Roman and Byzantine Studies, 28:3 (1987:Autumn) p.257 Hephaestus the Magician and Near Eastern Parallels for Alcinous' Watchdogs Christopher A. Faraone s ODYSSEUS enters the palace of the Phaeacian king he stops to A marvel at its richly decorated fa9ade and the gold and silver dogs that stand before it (Od. 7.91-94): , ~,t: I () \, I , ")" XPVCHLOL u EKanp E KaL apyvpEoL KVVES l1CTav, C 'll I 'll ovs'" ·'HA-.'t'aLCTTOS' ETEV~" EV LuVL?1CTL 7rpa7rLUECTCTL oWJJ.a <pvAaCTCTEJJ.EvaL JJ.EyaA~TopoS' ' AAKWOOLO, a'() avaTOVS'I OVTaS'" KaL\ aYl1pwS'')',' l1JJ.aTa 7raVTa.I On either side [sc. of the door] there were golden and silver dogs, immortal and unaging forever, which Hephaestus had fashioned with cunning skill to protect the home of Alcinous the great­ hearted. All the scholiasts give the same euhemerizing interpretation: the dogs were statues fashioned so true to life that they seemed to be alive and were therefore able to frighten away any who might attempt evil. Eustathius goes on to suggest that the adjectives 'undying' and 'un­ aging' refer not literally to biological life, but rather to the durability of the rust-proof metals from which they were fashioned, and that the dogs were alleged to be the work of Hephaestus solely on account of their excellent workmanship. 1 Although similarly animated works of Hephaestus appear elsewhere in Homer, such as the golden servant girls at Il. 18.417-20, modern commentators have also been reluctant to take Homer's description of these dogs at face value.
    [Show full text]
  • Talos and Daedalus: a Review of the Authorship, of the Abominable Bronze Man '
    TALOS AND DAEDALUS: A REVIEW OF THE AUTHORSHIP, OF THE ABOMINABLE BRONZE MAN '. Merlin Per is ApOLLONIUSsays in his Argonautica" that when the Argonauts, returning from their quest for the Golden Fleece; tried to put in at Crete, they were prevented from doing so by Talos, the bronze sentinel of Minos, who stood on the cliffs and hurled rocks at their ship. Tradition has it that this strange metal man strode three times a day round the island of Crete, protecting it from intruders. And as he made his rounds on his tireless feet, he scanned the seas and the beaches for signs of them. If it was a ship that he saw, he would tear chunks off the crags with his bare metal hands and throw them at it and sink it; if, on the other hand, men had already c~me ashore, it is said that he would leap into a fire and make himself red-hot, then, running up to them and embracing them, scorch them to. death. His victims, when they died, died with a grimace on their faces - and this, "according to some etymologies •• was the origin of the expression 'sardonic smile'. The evidence on Taloshas been brought together a few times before this by writers and commentators and some interesting conjectures have been made as to his mythological and religious significance. The discussion inevitably brings up the question of the identity of the Talos of Crete with the Talos of Athens, said to be -the nephew of Daedalus. There is also the attempt, prompted by .the.
    [Show full text]
  • Wonders of Mythology and Folklore Unit Mrs. Singer – Ninth Grade Literature Table of Contents I. Rationale for Teaching Mythol
    Wonders of Mythology and Folklore Unit Mrs. Singer – Ninth Grade Literature Table of Contents I. Rationale for Teaching Mythology and Folklore II. Unit Goals and Concepts III. Introductory Activity/User’s Manual IV. Daily Lesson Plans V. Unit Informational Handouts VI. Unit Assignment and Project Handouts VII. Rubrics VIII. Tool Sharpening Lessons Rationale for Teaching the Wonders of Mythology and Folklore Myths, whether old or new, have influenced the various cultures of the world since ancient times. In this unit, I plan to instruct my students on the importance of mythology in relation to the cultures and the values of society. I also plan to help them overcome the language barriers in order to appreciate the poetic complexity of ancient languages as well as the structure of the common myth. After completing the unit, students will develop a better comprehension of ancient writings, explore the significance of those writings in terms of cultural values, and construct their own creative myth in order to practice the components and purposes of mythology. Mythology is an essential part of the Ninth Grade Curriculum, for it contains historical elements, it exemplifies the morals and values of a society, and it represents many cultures, which diversifies the curriculum. Unlike what many people assume, many myths do contain historical content. For instance, Patai asserts, “…in many cases myths do have a historical kernel…or that historical traditions can and do assume mythical forms and survive as myths for a long time after the memory of the historical event itself has sunk into oblivion” (73). As a teacher, I am aware that students have various ways of conserving information.
    [Show full text]
  • An Exploration of Myth and Medea Danielle Leibu [email protected]
    Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2019 Myth, Magic, and Murderous Mothers: An Exploration of Myth and Medea Danielle Leibu [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Leibu, Danielle, "Myth, Magic, and Murderous Mothers: An Exploration of Myth and Medea" (2019). Honors Thesis Collection. 654. https://repository.wellesley.edu/thesiscollection/654 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. Myth, Magic, and Murderous Mothers: An Exploration of Myth and Medea Danielle Miranda Leibu Submitted in Partial Fulfillment of the Prerequisite for Honors in The Classical Studies Department under the advisement of Kate Gilhuly April 2019 © 2019 Danielle Miranda Leibu Acknowledgements I am obligated to thank my brother, Jonathan, for letting me steal his mythology books and for forcing me to watch the Jason and the Argonauts (1963) film when we were children; without him, I probably never would have entered the field of Classics. I would like to thank Professor Gilhuly for her endless patience and endless edits, as well for indulging in my obsession with myth and sorceresses by letting me work on this thesis. I would also like to thank Professor Dougherty for encouraging me to make a book that would fly (spoiler alert: it did not), as well as to thank Katherine Ruffin for her endless support, for all of her book arts expertise, and for keeping me grounded artistically.
    [Show full text]
  • Crimes of Passion:Representationof Women and Female Sexuality in Mythological Abduction Paintingsof Peter Paul Rubens
    Quest Journals Journal of Research in Humanities and Social Science Volume 6 ~ Issue 12 (2018) pp.: 06-13 ISSN(Online) : 2321-9467 www.questjournals.org Research Paper Crimes Of Passion:RepresentationOf Women And Female Sexuality In Mythological Abduction PaintingsOf Peter Paul Rubens AnjuDevadas R D Research Scholar, PG & Research Dept. of English, Mar Ivanios College, Trivandrum ABSTRACT:The mythological stories and legends of ancient Greece repeatedly depict the motif of a mortal woman being ‘abducted’ by a Greek god or a legendary hero either appearing in his true self or disguising and assuming an animal form. The artistic representation of these narratives such as the abduction of Persephone by Hades, abduction of Helen by Paris or abduction of Orithyia by Boreas interchangeably use ‘rape’ and ‘abduction’ and portray women as the embodiments of beauty and sexuality transforming them into crimes committed in hot blood and passion. The sensuality of the paintings is heightened by both subject matter and expressive use of colour and exhibit pain, fear, revulsion, or sometimes passivity by the abducted maiden contrasted by the all-powerful and supreme depictions of Gods. The violent seizure and seductive image, along with the opulent and exuberant artistic nudity intensify the eroticism and poetry of such creations. This paper strives to examinethe sensual, sexual, and allegorical implications of rape and abduction in the select monumental mythological abduction and rape paintings of Flemish Baroque painter Peter Paul Rubens such as The Rape of Daughters of the Leucippus, The Rape of Orithyia by Boreas,The Rape of Europa, The Rape of Hippodamia, andThe Rape of Proserpine.
    [Show full text]
  • 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).
    [Show full text]
  • Summer Reading, Mythology Study Guide the Why in the Course of the Next Four Years, Much of the Literature You Read Will Contain
    Summer Reading, Mythology Study Guide The Why In the course of the next four years, much of the literature you read will contain allusions to Greek mythology. The stories of King Midas (Merchant of Venice), Jason and the Argonauts (Merchant of Venice), and Prometheus (Frankenstein) all figure prominently in works you will read at St. X. (You may have already come across allusions to Eros and Psyche in Ender’s Game.) Knowing these allusions will help you to have a much deeper understanding of and appreciation for the works that you read. In addition, the English language contains a considerable number of words and phrases that were born in mythology (martial, panacea, euphemism, narcissistic). As a result, the English Department at St. Xavier feels that freshmen students will benefit from having a foundation in Greek mythology before they even enter the building. The What To encourage dedication to learning these stories, students can expect an objective test on the content contained in Heroes, Gods and Monster of the Greek Myths by Bernard Evslin within the first week of school. The How You’ll notice that Evslin’s book is broken up into four sections: THE GODS, NATURE MYTHS, DEMIGODS, and FABLES. To assist students in learning this content, the freshmen learning team at St. Xavier has created a study guide so that students can get a sense of what to study. We have organized the study guide into the same groupings as the ones contained in the book. Please be diligent in your study of the myths. This task will be one of your first opportunities to demonstrate your preparedness for high school.
    [Show full text]
  • Stages of Evolution from Mechanical Automatic Systems to Humanoid Robot
    Journal of Mechanics Engineering and Automation 5 (2015) 309-316 doi: 10.17265/2159-5275/2015.05.006 D DAVID PUBLISHING Main Stages of Evolution from Mechanical Automatic Systems to Humanoid Robot Ionel Staretu Product Design, Mechatronics and Environment Department, Product Design and Environment Faculty, Transylvania University of Brasov, Brasov 500036, Romania Received: June 09, 2015 / Accepted: July 08, 2015 / Published: May 25, 2015. Abstract: Since ancient times, man has been concerned to create an artificial structure similar to itself. This concern has remained constant attention and creative thinkers most profound since antiquity until today, it is of greatest interest. This article aims to highlight the most significant moments of the evolution from mechanical creatures mythical or real, from antiquity to the present humanoid robots. There are thus shown the most significant variants humanoid imagined or realized since Talos, described in Greek mythology, continuing with mechanical machines during late Roman Empire, the Byzantine Empire and then the Renaissance of the post-renaissance, then they are shown the main achievements of the industrialization period from the nineteenth to the early part of the twentieth century, then to the most important made in the last decades of the twentieth century and early twenty-first century. The work is important to stimulate concerns academic theorists and practice but also in the industrial practice specializing in robotics and more generally in mechatronics. It also opens the prospect of defining the concept of an artificial humanoid useful both for human prosthesis with certain disabilities, and a humanoid robot performance. Key words: Mechanical automate, humanoid robot, service robot, medical robot, robotics market.
    [Show full text]
  • Week of 28 April Subject Tuesday Wednesday Thursday Grade 9
    Week of 28 April Subject Tuesday Wednesday Thursday Grade 9 English +-15 min +-15 min +-15 min +-45min Watch this video or read the story Read the War and Peas cartoon. Look at the writing prompt and write entitled “The Greek Myth of Talos, the something from your own life, past or First Robot” What visual clues tell you the robot present, that this illustration makes you is scared? think of — or use your imagination to Which king had Talos created? Why is the robot crying for help? write the opening of a short story or How did Talos protect the island? What point is the cartoon making poem from the perspective of one of the What is ichor? about dogs? people pictured. What was the weak point of Talos’s design? Extension (optional): draw your own Extension (optional): read the article Modern science fiction stories often cartoon, featuring an animal’s perspective that goes with the image. imagine that machines, robots, and of humans Artificial Intelligence will develop Remember to read something you enjoy minds of their own and make Remember to read something you enjoy today!! decisions without human input. How today!! does the ancient science fiction tale of Talos fit in with these ideas? Extension (optional): learn more about Jason and the Argonauts here (video) Remember to read something you enjoy today!! Tuesday The Greek myth of Talos, the first robot Hephaestus, god of technology, was hard at work on his most ingenious invention yet. He was creating a new defense system for King Minos, who wanted fewer intruders on his island kingdom of Crete.
    [Show full text]
  • Heroes and Monsters Heroes and Monsters
    HEROES AND MONSTERS EXPLOITS OF PERSEUS TO THE DEATH OF HERCULES HEROES AND MONSTERS – SUMMARY Greek folklore only begins with the stories of the Greek Gods. The second category of Greek mythology involves human, or semi-human heroes, and a spectacular array of monsters and villains. These hero legends are often associated a specific town or region and may have been loosely based on historical characters, since the aristocratic classes in many Greek cities claimed descent from them. The four most important Greek heroes are Perseus, Jason and the Argonauts, Theseus, and Hercules. There are elaborate stories detailing the exploits of the four heroes mentioned above, most of which involve fending off some of the most creatively horrible monsters ever imagined. Perseus, for example, needed to capture the head of Medusa, a snake-haired gorgon whose horribly ugly visage turned men instantly into stone. Theseus, a prince of Athens, is most famous for killing the Minotaur, a man-eating half-man, and half-bull, responsible for the deaths of hundreds of young Athenian. Jason and the Argonauts met with dozens of adventures on their voyage, including run-ins with fire-breathing bulls, bronze giants wielding gigantic boulders, flying witches who stole food from sailors' mouths, bewitching maidens who lured soldiers to their death, a sorceress who turned men into animals and a sea-monster who sucked ships into a giant whirlpool. And all of the monsters so far discussed are just a PERSEUS AND THE GORGONS prelude to the amazing creatures that contended with Hercules, the greatest of the Greek heroes.
    [Show full text]