P10263v3.0 Lab 5 Text
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Why Are There Seven Sisters?
Why are there Seven Sisters? Ray P. Norris1,2 & Barnaby R. M. Norris3,4,5 1 Western Sydney University, Locked Bag 1797, Penrith South, NSW 1797, Australia 2 CSIRO Astronomy & Space Science, PO Box 76, Epping, NSW 1710, Australia 3 Sydney Institute for Astronomy, School of Physics, Physics Road, University of Sydney, NSW 2006, Australia 4 Sydney Astrophotonic Instrumentation Laboratories, Physics Road, University of Sydney, NSW 2006, Australia 5 AAO-USyd, School of Physics, University of Sydney, NSW 2006, Australia Abstract of six stars arranged symmetrically around a seventh, and is There are two puzzles surrounding the therefore probably symbolic rather than a literal picture of Pleiades, or Seven Sisters. First, why are the Pleiades. the mythological stories surrounding them, In Greek mythology, the Seven Sisters are named after typically involving seven young girls be- the Pleiades, who were the daughters of Atlas and Pleione. ing chased by a man associated with the Their father, Atlas, was forced to hold up the sky, and was constellation Orion, so similar in vastly sep- therefore unable to protect his daughters. But to save them arated cultures, such as the Australian Abo- from being raped by Orion the hunter, Zeus transformed them riginal cultures and Greek mythology? Sec- into stars. Orion was the son of Poseidon, the King of the sea, ond, why do most cultures call them “Seven and a Cretan princess. Orion first appears in ancient Greek Sisters" even though most people with good calendars (e.g. Planeaux , 2006), but by the late eighth to eyesight see only six stars? Here we show that both these puzzles may be explained by early seventh centuries BC, he is said to be making unwanted a combination of the great antiquity of the advances on the Pleiades (Hesiod, Works and Days, 618-623). -
Lab #3: the Pleiades
Physics 10263 Lab #3: The Pleiades Introduction In the constellation Taurus, a familiar sight in the evening sky during the spring, there is a small asterism known as “The Pleiades”, which marks the location of a cluster of stars. In legend, the Pleiades are the seven sisters, daughters of Atlas, the titan who holds up the sky, and the Oceanid named Pleione. The sisters are Alcyone, Maia, Electra, Taygeta, Celaeno, Merope and Asterope. The great hunter known as Orion fell in love with them and chases them across the sky as they ride on the back of Taurus the bull. Today there are only six stars in the Pleiades that are easily visible to the naked eye. There are many theories about what happened to the 7th one. Celaeno has often been called the “Lost Pleiad” because she was hit by lightning according to Greek mythology. In reality, the star we call Celaeno is just at the limit of human vision in terms of brightness. In today’s lab, we’ll take a closer look at this small cluster of stars with the help of some observational data collected by astronomers at Kitt Peak National Observatory. !17 From lecture, you may be familiar with the equation that relates the apparent luminosity and absolute luminosity of a star. This relationship is known as the inverse square law: 100 - L app = 2 L abs X r ! where “r” is the distance to the star (in parsecs) and “X” is the reduction factor that accounts for the extinction and reddening of starlight due to the intervening interstellar medium. -
The Pleiades Star Cluster, in the Constellation of Orion, Is the Location of the 'Home World', and from Whence the Atlanteans Came
THE PLEIADES Compiled by Campbell M Gold (2008) CMG Archives http://campbellmgold.com --()-- Introduction In o.e.v lore, the Pleiades star cluster, in the constellation of Orion, is the location of the 'Home World', and from whence the Atlanteans came. Very faint echoes of the alternative history can be found in the mythology surrounding the Pleiades, especially regarding Merope. The Pleiades In mythology, the Pleiades were the seven daughters of the titan Atlas and the sea-nymph Pleione, and were born on Mount Cyllene. They are the siblingss of Calypso, Hyas, the Hyades, and the Hesperides. The Pleiades were nymphs in the train of Artemis, and together with the seven Hyades were called the Atlantides, Dodonides, or Nysiades, nursemaids and teachers to the infant Bacchus. The Seven Sisters 1) Maia , eldest of the seven Pleiades, was mother of Hermes by Zeus and Iris by Thaumas. 2) Electra was mother of Dardanus and Iasion by Zeus. 3) Taygete was mother of Lacedaemon, also by Zeus. 4) Alcyone was mother of Hyrieus by Poseidon. 5) Celaeno was mother of Lycus and Eurypylus by Poseidon. 6) Sterope (also Asterope) was mother of Oenomaus by Ares. 7) Merope , youngest of the seven Pleiades, was wooed by Orion. In other mythic contexts she married Sisyphus and, becoming mortal, she faded away. She bore to Sisyphus several sons. How Did The Seven Sisters Become Stars? The Seven Sisters received their "Catasterismi" (placement among the stars) when they all committed suicide because they were "so saddened" by either the fate of their father, Atlas, or the loss of their siblings, the Hyades (also daughters of Zeus). -
So Cruell Prison How Could Betide Alas
AN EDITION OF BRITISH LIBRARY, ADDITIONAL MS 36529 A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY EDWARD P. M. SMITH SCHOOL OF ENGLISH, LANGUAGE AND LINGUISTICS UNIVERSITY OF SHEFFIELD APRIL 2014 VOLUME II: COMMENTARY Vol. II 2 Vol. II CONTENTS Note on Conventions 4 Editorial Commentaries 5 Conclusion 344 Glossary of Rhetorical Terms 351 Appendices: Appendix 1: Textual Accuracy of the Shorter Wyatt Poems in P, D, E, NA1-2, and T1-2 352 Appendix 2: Textual Accuracy of Surrey Poems in P, T1, and T2 353 Appendix 3: John Harington of Stepney: ‘Of person Rare, Stronge Lymbes, and manly shapp’ 354 Appendix 4:John Harington of Stepney:‘Marvaylous be thie matcheles gyftes of mynde’ 355 Bibliography 356 3 Vol. II NOTE ON CONVENTIONS For all rhetorical terms used in the Commentary, see Glossary at the end of this volume. For all other abbreviations, see Sources and Abbreviations in Volume I. This edition does not provide a commentary for [64], Edmund Campion’s Latin poem Sancta salutiferi nascentia semina verbi. The Commentary therefore omits any entry for [64], and accordingly moves uninterrupted from [63] to [65]. 4 Vol. II EDITORIAL COMMENTARIES [1] HEROIDES 17 BY SIR THOMAS CHALONER (c. 1521-1565) Poem [1] is Sir Thomas Chaloner’s translation of Ovid, Heroides 17, the epistle of Helen to Paris. The subscription by Hand F claims Chaloner’s authorship, which Park accepted when he printed [1] from P in the 1804 edition of the Nugæ Antiquæ (NA3), II, pp. 372-389. Christopher Martin also included [1] as a Chaloner piece in his selection Ovid in English (1998). -
HESIOD in OVID: the METAMORPHOSIS of the CATALOGUE of WOMEN a Dissertation Presented to the Faculty of the Graduate School of Co
HESIOD IN OVID: THE METAMORPHOSIS OF THE CATALOGUE OF WOMEN A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Ioannis V. Ziogas February 2010 © 2010 Ioannis V. Ziogas HESIOD IN OVID: THE METAMORPHOSIS OF THE CATALOGUE OF WOMEN Ioannis V. Ziogas, Ph.D. Cornell University, 2010 The subject of my dissertation is Ovid's intertextual engagement with the Hesiodic Catalogue of Women (aka the Ehoiai). I examine the Hesiodic character of Ovid’s work, focusing mainly on the Metamorphoses and Heroides 16-17. The Metamorphoses begins with Chaos and moves on to the loves of the gods, reiterating the transition from the Theogony to the Catalogue. Divine passions for beautiful maidens constitute a recurring motif in the Metamorphoses, establishing the importance of the erotic element in Ovid’s hexameter poem and referring to the main topic of the Ehoiai (fr. 1.1-5 M-W). The first five books of Ovid’s epic follow the descendants of the river-god Inachus, beginning with Jupiter’s rape of Io and reaching forward to Perseus, and the stemma of the Inachids features prominently in the Hesiodic Catalogue (fr. 122-59 M-W). As a whole, the Metamorphoses delineates the genealogies of the major Greek tribes (Inachids, Thebans, Athenians), and includes the Trojans, the only non-Greek genealogies of the Catalogue, which were dealt with in the last part of Hesiod’s work. Ovid’s foray into the Hesiodic corpus gives us a new perspective to interpreting his aemulatio of Vergil. -
Vergil's Political Commentary in the Eclogues, Georgics and Aeneid
Leendert Weeda Vergil’s Political Commentary in the Eclogues, Georgics and Aeneid Leendert Weeda Vergil’s Political Commentary in the Eclogues, Georgics and Aeneid Managing Editor: Katarzyna Grzegorek Associate Editor: Anna Borowska Language Editor: Manuela Rocchi Published by De Gruyter Open Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Munich/Boston This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 license, which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Copyright © 2015 Leendert Weeda ISBN 978-3-11-042641-0 e- ISBN 978-3-11-042642-7 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. Managing Editor: Katarzyna Grzegorek Associate Editor: Anna Borowska Language Editor: Manuela Rocchi www.degruyteropen.com Cover illustration: © Thinkstock/ The text on the front cover is from Vergil’s Georgics, book 2, 510-523. Contents Preface And Acknowledgements VII 1 Introduction, Political Opinions, Propaganda 1 1.1 Introduction 1 1.2 Did Vergil Express Political Views? 5 1.2.1 Methodological Features 5 1.2.2 Political Content Of Vergil’s Poems 6 1.2.3 References 8 1.2.3.1 The Literary Frame 10 1.2.3.2 The Functional Frame 11 1.3 Propaganda 13 2 The Context 22 2.1 Poetry And Visual Media -
Who's Who in Classical Mythology
Who’s Who in Classical Mythology The Routledge Who’s Who series Accessible, authoritative and enlightening, these are the definitive biographical guides to a diverse range of subjects drawn from literature and the arts, history and politics, religion and mythology. Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Christianity Lavinia Cohn-Sherbok Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Contemporary Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in Contemporary Women’s Writing Edited by Jane Eldridge Miller Who’s Who in Contemporary World Theatre Edited by Daniel Meyer-Dinkegräfe Who’s Who in Dickens Donald Hawes Who’s Who in Europe 1450–1750 Henry Kamen Who’s Who in Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in the Greek World John Hazel Who’s Who in Jewish History Joan Comay, revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Modern History Alan Palmer Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in the Roman World John Hazel Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who of Twentieth-Century Novelists Tim Woods Who’s Who in Twentieth-Century World Poetry Edited by Mark Willhardt -
Fulgentius the Mythqgraphe
FULGENTIUS THE MYTHQGRAPHE Translated from the Latin with Introductions by LESLIE GEORGE WHITBREAD $15.00 FULGENTIUS THE MYTHOGRAPHER Translated from the Latin, with Introduc tions, by Leslie G. Whitbread Throughout the Middle Ages and well into the Renaissance, the writings of Fulgentius the mythographer, who lived in the late fifth or early sixth century, were extremely popu lar, much admired, and widely imitated. His influence on poetry, art, preaching, education, and the modes that were employed to adapt classical myth and literature to the require ments of more-or-less Christian patterns of thought was unquestionably profound. Translations of the five Latin works ascribed to him have long been needed, sim ply to make a significant influence available to modern historians of medieval and Ren aissance art, literature, and intellectual life. But the language of Fulgentius is appallingly difficult. Composed in the decadent Latin of his time, his writing is full of intricate rhe torical excesses of a particular extravagance and complexity that could only discourage the prospective translator, and that have caused some to describe his work as simply untrans latable. The substance, too, of Fulgentius's five trea tises — on the content of Virgil according to moral philosophy, on classical mythology, on the Thebaid, on obsolete words, and on the ages of man and the world — has been found wanting. Charges have been made that both his purposes and his methods are confused and of dubious merit, and that the learning displayed in the convoluted syntax of his pompous and extravagant prose is merely sec ondhand when it is not just highly suspect. -
Mythological Creatures
Mythological Creatures Centaur Description: The centaur is a mythological creature. Its head, arms, and chest are those of a human and the rest of its body, including four legs, hindquarters, and a tail is like that of a horse. Origin: According to Greek tradition, there are two families of centaurs. The more numerous and unruly centaurs are those born of the union of Ixion, King of the Lapithae and a cloud which Zeus disguised as his own wife, Hera. Chiron who was like the above centaurs in appearance fathered a different race of centaur, sober, learned and studious. His father was Cronus, the Titan and his mother was Philyra, an Oceanid (or ocean nymph). He was a famous physician and teacher and was renowned for his skill in hunting, medicine, music, and the art of prophecy. Taught by Apollo and Diana, Chiron went on to tutor the greatest Greek warriors, Aesculapius, Jason, Hercules, and Achilles. Cerberus Description: According to Horace, Cerberus possessed one hundred heads. Hesiod wrote that he had fifty, while most sources agree to only three. The center head was in the shape of a lion, while the other two were in the shape of a dog and a wolf, respectively. He also had a dragon's tail and a thick mane of writhing snakes. Origin: It is generally thought that Cerberus was born to Echidne, a half- woman, half-serpent, and Typhon, the most fierce of all creatures. Cyclopes Description: The Cyclopes were almost like human beings but of a gigantic size and with only one eye in the middle of their heads. -
2011 Tennessee Certamen—Intermediate—Prelims 1. Listen
2011 Tennessee Certamen—Intermediate—Prelims 1. Listen carefully to the following passage, which I will read twice, and answer IN LATIN the question that follows: Erat olim puer cupidus et iocōs facendī et studia neglegendī. Ubi rhētor eum rogāvit partēs principalēs cuiusdam verbī, impudenter respondit “audeō audīre.” Question: Quae puerō placuērunt? IOCŌS FACERE ET STUDIA NEGLEGERE B1: Quantae partēs principalēs verbī “audeō” sunt? TRĒS B2: Quō modō puer rhētorī respondit? IMPUDENTER 2. Who was the first emperor to suffer damnatio memoriae? DOMITIAN B1. Who was the only person to suffer this fate who was not an emperor? SEJANUS B2. What co-emperor of Caracalla also suffered damnation memoriae? GETA 3. What use of the genitive case is found in the following sentence? Nōn tantī vendunt, quantī ēmērunt mercātōrēs. (GENITIVE OF) PRICE B1: … Cicero dīxit Catilīnam hominem gravitātis expertem esse. (GENITIVE OF) WANT / LACK / SUPPLY B2: … Caesaris adventus inimicīs nōn placuit. SUBJECTIVE GENITIVE 4. What hero had to kill a fire breathing bull, sow a field with dragon’s teeth, and overcome a mighty serpent in order to retrieve a Golden Fleece from Colchis? Jason B1: What king of Colchis had assigned these “impossible” tasks to Jason? Aeetes B2: What daughter of Aeetes accompanies Jason and protects him from danger with her sorcery? Medea 5. Translate into English: Prīdiē praetōrem precibus prognātus premēbat. ON THE PREVIOUS DAY, THE SON WAS PRESSING THE PRAETOR WITH PRAYERS B1: Which of the following is NOT derived from the same etymological root as prognātus? genius, gens, genu, gener. GENU B2: Give the principal parts and meaning of the Latin verb root of prognātus. -
'Meidias' Hydria
The ‘Meidias’ hydria: a visual and textual journey of a Greek vase in the history of art of antiquity (c. 1770s–1840s) Emmanouil Kalkanis Figure 1 Attic red-figure hydria, attributed to the Meidias Painter, (420–400 BC), Trustees of the British Museum, London. The cultural history of artefacts is a rewarding field of enquiry for understanding the many different ways that certain objects have been seen and valued in the past by different people and for various reasons. Not least, these stories in all their variety can provide fresh insights into our own way of seeing how people make things meaningful and why they ascribe value to them.1 In examining a particular * A number of scholars have given me much help and advice for which I am deeply grateful. I should record my warm thanks to Robin Osborne, Jas Elsner, Daniel Orrells, François Lissarrague, and Robin Skeates for sharing their knowledge and expertise in the preparation of this article; their telling criticism and encouragement has been indispensable on a great many points. Sole responsibility for errors rests with the author. 1 For example, the excellent work by Adolf Greifenhagen on the artistic interpretation of ancient Greek vases and their impact on late eighteenth- and early nineteenth-century art was exemplary in discussing the extent to which such objects featured in various paintings, although it is limited by the Journal of Art Historiography Number 9 December 2013 Emmanouil Kalkanis The ‘Meidias’ hydria: a visual and textual journey of a Greek vase in the history of art of antiquity (c. -
THE MYTHS of the CONSTELLATIONS [The Main Sources for These Myths Are: Pseudo-Eratosthenes Catasterismi, Hyginus De Astronomia
THE MYTHS OF THE CONSTELLATIONS [The main sources for these myths are: Pseudo-Eratosthenes Catasterismi, Hyginus De astronomia, book 2, Aratus Phaenomena and Manilius Astronomica. For details see Summary of Sources] I Constellations of the Northern Sky 1. Ursa Major ('Great Bear'). The great and little Bears stand back to back on either side of the northern pole of the sky. 1. Ursa Major is *Callisto, an Arcadian companion of Artemis who was transformed into a bear by Artemis (or by Zeus, or Hera) after she was seduced by Zeus. Although there are several conflicting accounts of this star-myth two basic patterns can be distinguished. According to one, Callisto was killed by Artemis soon after her transformation, and Zeus placed her, or an image of her, in the heavens; according to the other, Callisto survived, and her son *Arcas hunted her when he grew up without realizing that the bear was his mother. Zeus saved him from matricide by transferring both of them to the heavens, Callisto as the Bear, and Arcas as Bootes (4). The constellation circles the Pole and never sets into Ocean (i.e. below the horizon). 2. According to Aratus, the infant Zeus was nursed by bears for two years in a cave by Mount Dicte in Crete, and the god later rewarded them by placing them in the heavens as Ursa Major and Ursa Minor. Aratus names the bears as Helice and Cynosura (which were originally names for the constellations themselves). 3. In later astronomical sources, Helice and Cynosura are described as nymphs who reared the infant Zeus on Mount Ida in Crete.