The Adventures of Ulysses
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
The Heart of Oak Books
w BOSTON PUBLIC LIBRARY THE HEART OF OAK BOOKS A COLLECTION OF TRADITIONAL RHYMES AND STORIES FOR CHILDREN, AND OF MASTERPIECES OF POETRY AND PROSE FOR USE AT HOME AND AT SCHOOL, CHOSEN WITH SPECIAL REFERENCE TO THE CULTIVATION OF THE IMAGINATION AND THE DEVELOPMENT OF A TASTE FOR GOOD READING En J5?ti Uolunus Volume III THE HEART OF OAK BOOKS EDITED BY CHARLES ELIOT NORTON £btrt> ISook FAIRY STORIES AND CLASSIC TALES OF ADVENTURE BOSTON, U.SA. D. C. HEATH & CO., PUBLISHERS 1895 PE )ir-f . A/ H bk 3 Copyright, 1895, By CHARLES ELIOT NORTON. Noriuooti iPtcss J. S. dishing & Co. — Berwick & Smith Norwood Mass. U.S.A. ACKNOWLEDGMENTS. -»<>•- In the preparation of the Heart of Oak Books, I have been H. 'greatly assisted by Miss Kate Stephens and Mr. G-eorge Browne. Without their help the books would not have been made. An accurate text of the pieces of which the volumes are made up has been secured by the careful and scholarly revision of Mr. Browne. Most of the notes are from the hand of Miss Stephens. C. E. NORTON. The selections from Longfellow, Lowell, Hawthorne, Whit- tier, and Emerson in these books are used by permission of the publishers of the works of these authors, Houghton, Mifflin, & Co., and by special arrangement with them. D. C. HEATH & CO. PEEFACE. A taste for good reading is an acquisition the worth of which is to be overestimated and a of hardly ; yet majority children, even of those favored by circumstance, grow up without it. This defect is due partly to the fault or ignorance of and teachers to the in parents ; partly, also, want, many cases, of the proper means of cultivation. -
Myths and Legends: Odysseus and His Odyssey, the Short Version by Caroline H
Myths and Legends: Odysseus and his odyssey, the short version By Caroline H. Harding and Samuel B. Harding, adapted by Newsela staff on 01.10.17 Word Count 1,415 Level 1030L Escaping from the island of the Cyclopes — one-eyed, ill-tempered giants — the hero Odysseus calls back to the shore, taunting the Cyclops Polyphemus, who heaves a boulder at the ship. Painting by Arnold Böcklin in 1896. SECOND: A drawing of a cyclops, courtesy of CSA Images/B&W Engrave Ink Collection and Getty Images. Greek mythology began thousands of years ago because there was a need to explain natural events, disasters, and events in history. Myths were created about gods and goddesses who had supernatural powers, human feelings and looked human. These ideas were passed down in beliefs and stories. The following stories are about Odysseus, the son of the king of the Greek island of Ithaca and a hero, who was described to be as wise as Zeus, king of the gods. For 10 years, the Greek army battled the Trojans in the walled city of Troy, but could not get over, under or through the walls that protected it. Finally, Odysseus came up with the idea of a large hollow, wooden horse, that would be filled with Greek soldiers. The people of Troy woke one morning and found that no army surrounded the city, so they thought the enemy had returned to their ships and were finally sailing back to Greece. A great horse had been left This article is available at 5 reading levels at https://newsela.com. -
Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités. -
North Central High School 2020 Summer Reading Assignment This Summer, You Will Read and Study Greek Mythology from Edith Hamilt
North Central High School 2020 Summer Reading Assignment This summer, you will read and study Greek mythology from Edith Hamilton’s Mythology: Timeless Tales of Gods and Heroes. Because we will use this book throughout the school year in English 9X, you must purchase a copy of it. Be sure to bring both your book and completed chart with you on the first day of school in August. This assignment is a requirement for all students enrolled in 9X. Reading Assignment: Read the following selections from Mythology. Requirements for the notes are listed immediately following the reading assignment. Part One: The Gods • Chapter 1: The Gods • Chapter 2: The Two Great Gods of Earth Expectations: • Use the chart provided. Specific instructions are detailed with each part of the reading. Use this chart to record important information from Edith Hamilton’s Mythology, Part One: The Gods. Use bullet points in the chart. PANTHEON OF ROMAN DOMAIN OR DUTY SYMBOLS OTHER OBSERVATIONS GODS NAMES (ANIMALS, WEAPONS) ZEUS HERA POSEIDON HADES ATHENA APOLLO ARTEMIS PANTHEON OF ROMAN DOMAIN OR DUTY SYMBOLS OTHER OBSERVATIONS GODS NAMES (ANIMALS, WEAPONS) APHRODITE HERMES ARES HEPHAESTUS HESTIA Next, Hamilton discusses the lesser gods. Choose one of the following note- taking strategies for each of the characters: Strategy #1: traditional notes Strategy #2: sketch or draw a diagram Strategy #3: make connections to modern literary characters or pop culture Strategy #4: write two discussion questions Eros Muses Proteus Naiads Cerberus THE FURIES/ERINYES PAN AEOLUS THE GORGONS SIRENS THE FATES/MOIRAE . -
PERMANENT INJUNCTION Filed by Judge Stephen V. Wilson This
Insta Entertainment, Inc. v. Bizzy Entertainment, Inc. et al Doc. 74 1 2 3 4 5 6 7 8 UNITED STATES DISTRICT COURT 9 CENTRAL DISTRICT OF CALIFORNIA 10 WESTERN DIVISION 11 INSTA ENTERTAINMENT, INC., a ) Case No.: CV 10-0632-SVW (Ex) 12 California corporation, ) ) 13 Plaintiff, ) ORDER FOR PERMANENT ) INJUNCTION 14 v. ) ) 15 BIZZY ENTERTAINMENT, INC., et ) al., ) 16 ) Defendants. ) 17 ) ) 18 The parties hereto having agreed to a settlement of the claims between them, 19 and having stipulated to entry of this permanent injunction, it is hereby ORDERED, 20 ADJUDGED AND DECREED: 21 1. This Court has jurisdiction over Plaintiff Insta Entertainment, Inc. 22 (“Plaintiff”) and Defendants Bizzy Entertainment, Inc. and Yu Ling Chung 23 (collectively “Defendants”), and over the subject matter at issue in this action. 24 Defendants consent to the jurisdiction of this Court for the purpose of executing and 25 enforcing this Stipulated Permanent Injunction and the settlement agreement between 26 the parties, and this Court retains jurisdiction for this purpose. 27 28 1 Order for Permanent Injunction Dockets.Justia.com 1 2. The Court hereby permanently ENJOINS Defendants and their 2 offices, agents, employees, attorneys and those acting in concert or conspiracy with 3 them, from: 4 A. Renting, selling, offering to sell, distributing, exploiting, 5 marketing, advertising, promoting, transferring, shipping, licensing, handling, aiding 6 or assisting in the distribution, or using in any fashion, any unauthorized videotapes, 7 digital video disks or other media containing Plaintiff’s licensed and copyrighted 8 programs identified in Exhibit “1” attached hereto. 9 B. Assisting, aiding, or abetting any other person or business 10 entity in engaging in or performing any of the activities referred to in above 11 subparagraphs (A). -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
What Is Greek About Greek Mythology?
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 4 | 1991 Varia What is Greek about Greek Mythology? David Konstan Electronic version URL: http://journals.openedition.org/kernos/280 DOI: 10.4000/kernos.280 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1991 Number of pages: 11-30 ISSN: 0776-3824 Electronic reference David Konstan, « What is Greek about Greek Mythology? », Kernos [Online], 4 | 1991, Online since 11 March 2011, connection on 01 May 2019. URL : http://journals.openedition.org/kernos/280 ; DOI : 10.4000/kernos.280 Kernos Kernos, 4 (1991), p. 11-30. WHAT IS GREEK ABOUT GREEK MYTHOLOGY? The paper that follows began as a lecture, in which 1 attempted to set out for a group of college teachers what was specifie to Greek mythology, as opposed to the mythologies of other peoples1. Of course, there is no single trait that is unique to Greek myths. But there are several characteristics of Greek mythology that are, despite the intense attention it has received for decades and even centuries, still not commonly noticed in the scholarly literature, and which, taken together, contribute to its particular nature. By the device of contrasting with Greek myths a single narrative from a very different society, 1 thought that 1 might set in relief certain features that have by and large been overlooked, in part precisely because they are so familiar as to seem perfectly natural. My survey of the characteristics of Greek mythology, needless to say, makes no pretense to being exhaustive. -
The Adventures of Ulysses
THE ADVENTURES OF ULYSSES CHARLES LAMB The Project Gutenberg EBook of THE ADVENTURES OF ULYSSES, by CHARLES LAMB Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: THE ADVENTURES OF ULYSSES Author: CHARLES LAMB Release Date: March, 2005 [EBook #7768] [This file was first posted on May 15, 2003] Edition: 10 Language: English Character set encoding: US-ASCII *** START OF THE PROJECT GUTENBERG EBOOK, THE ADVENTURES OF ULYSSES *** Anne Soulard, Juliet Sutherland, Charles Bidwell, and the Online Distributed Proofreading Team THE ADVENTURES OF ULYSSES BY CHARLES LAMB PREFACE This work is designed as a supplement to the Adventures of Telemachus. It treats of the conduct and sufferings of Ulysses, the father of Telemachus. The picture which it exhibits is that of a brave man struggling with adversity; by a wise use of events, and with an inimitable presence of mind under difficulties, forcing out a way for himself through the severest trials to which human life can be exposed; with enemies natural and preternatural surrounding him on all sides. -
The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame. -
Use This Chart to Record Important Information from Edith Hamilton's Mythology, Part One: the Gods, Stop After Hestia. Please
Indianapolis Classical Schools English 9 2019 Summer Reading Assignment If you have any questions, please contact Emily Bell ([email protected]) This summer, you will read and study Greek mythology from Edith Hamilton’s Mythology: Timeless Tales of Gods and Heroes. We will use this book throughout the first semester in English 9; therefore, you must purchase a copy of it. Be sure to bring both your book and completed chart with you on the first day of school in August. This assignment is a requirement for all students enrolled in English 9. Please visit www.myhaikuclass.com/embell/english9 for a digital copy of the notes below and to learn more about English 9! Reading Assignment: Read the following selections from Mythology. Requirements for the notes are listed immediately following the reading assignment. Reading: Part 1: The Gods ● Chapter 1: The Gods ● Chapter 2: The Two Great Gods of Earth Notes: Take notes on the graphic organizer provided on subsequent pages ● Complete all portions of the notes. You may use bullet points to organize facts. Some gods do not have Roman names or symbols; you may leave those boxes blank if the information is not provided by the text. ● You will be asked to use these notes on a quiz the first day of school. Please come prepared with your notes and book! Use this chart to record important information from Edith Hamilton’s Mythology, Part One: The Gods, stop after Hestia. Please bullet point your notes in the chart. PANTHEON OF ROMAN NAMES DOMAIN OR DUTY SYMBOLS PERSONALITY TRAITS/ OTHER GODS (ANIMALS, OBSERVATIONS WEAPONS) ZEUS HERA POSEIDON HADES ATHENA APOLLO ARTEMIS APHRODITE HERMES ARES HEPHAESTUS HESTIA Next, Hamilton discusses the lesser gods. -
UCLA Previously Published Works
UCLA UCLA Previously Published Works Title Wind and time in Homeric epic Permalink https://escholarship.org/uc/item/5jw3f9k6 Journal Transactions of the American Philological Association, 140(2) ISSN 0360-5949 Author Purves, AC Publication Date 2010-09-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Transactions of the American Philological Association 140 (2010) 323–350 Wind and Time in Homeric Epic* alex c. purves University of California, Los Angeles summary: This paper examines the relationship between wind, narrative, and time in Homer. It begins by considering Fränkel’s observation that weather rarely occurs outside the similes in the Iliad, and goes on to show that wind plays a subtle but fundamental role in shaping the narratives of both the Iliad and the Odyssey. “in the iliad, there are no seasons, and there is hardly any weather ... [Homer] causes storms, rain, and snow almost exclusively in the simile,” wrote Hermann Fränkel in 1921.1 But what does it mean to think of the plain at Troy as a weatherless space? How are we to read it alongside the storm-tossed and wind-swept landscapes of the similes? If wind occurs almost only in the similes of the Iliad, should we then posit some formal or temporal connec- tion between description and the weather? To answer yes, on the grounds that the simile, like the weather, belongs to the everyday, to the descriptive, to the “background effects” of heroic action, is perhaps partially correct, but it also underplays the significance of both elements in the poem.