Ancient Foundations Unit Three BC * European Civilization
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Alexander the Great and Hephaestion
2019-3337-AJHIS-HIS 1 Alexander the Great and Hephaestion: 2 Censorship and Bisexual Erasure in Post-Macedonian 3 Society 4 5 6 Same-sex relations were common in ancient Greece and having both male and female 7 physical relationships was a cultural norm. However, Alexander the Great is almost 8 always portrayed in modern depictions as heterosexual, and the disappearance of his 9 life-partner Hephaestion is all but complete in ancient literature. Five full primary 10 source biographies of Alexander have survived from antiquity, making it possible to 11 observe the way scholars, popular writers and filmmakers from the Victorian era 12 forward have interpreted this evidence. This research borrows an approach from 13 gender studies, using the phenomenon of bisexual erasure to contribute a new 14 understanding for missing information regarding the relationship between Alexander 15 and his life-partner Hephaestion. In Greek and Macedonian society, pederasty was the 16 norm, and boys and men did not have relations with others of the same age because 17 there was almost always a financial and power difference. Hephaestion was taller and 18 more handsome than Alexander, so it might have appeared that he held the power in 19 their relationship. The hypothesis put forward here suggests that writers have erased 20 the sexual partnership between Alexander and Hephaestion because their relationship 21 did not fit the norm of acceptable pederasty as practiced in Greek and Macedonian 22 culture or was no longer socially acceptable in the Roman contexts of the ancient 23 historians. Ancient biographers may have conducted censorship to conceal any 24 implication of femininity or submissiveness in this relationship. -
The Epic of Gilgamesh Humbaba from His Days Running Wild in the Forest
Gilgamesh's superiority. They hugged and became best friends. Name Always eager to build a name for himself, Gilgamesh wanted to have an adventure. He wanted to go to the Cedar Forest and slay its guardian demon, Humbaba. Enkidu did not like the idea. He knew The Epic of Gilgamesh Humbaba from his days running wild in the forest. He tried to talk his best friend out of it. But Gilgamesh refused to listen. Reluctantly, By Vickie Chao Enkidu agreed to go with him. A long, long time ago, there After several days of journeying, Gilgamesh and Enkidu at last was a kingdom called Uruk. reached the edge of the Cedar Forest. Their intrusion made Humbaba Its ruler was Gilgamesh. very angry. But thankfully, with the help of the sun god, Shamash, the duo prevailed. They killed Humbaba and cut down the forest. They Gilgamesh, by all accounts, fashioned a raft out of the cedar trees. Together, they set sail along the was not an ordinary person. Euphrates River and made their way back to Uruk. The only shadow He was actually a cast over this victory was Humbaba's curse. Before he was beheaded, superhuman, two-thirds god he shouted, "Of you two, may Enkidu not live the longer, may Enkidu and one-third human. As king, not find any peace in this world!" Gilgamesh was very harsh. His people were scared of him and grew wary over time. They pleaded with the sky god, Anu, for his help. In When Gilgamesh and Enkidu arrived at Uruk, they received a hero's response, Anu asked the goddess Aruru to create a beast-like man welcome. -
Between Scylla and Charybdis: Presuppositionalism, Circular Reasoning, and the Charge of Fideism
BETWEEN SCYLLA AND CHARYBDIS: PRESUPPOSITIONALISM, CIRCULAR REASONING, AND THE CHARGE OF FIDEISM Joseph E. Torres Perhaps the single most common argument against the apologetic method of Cornelius Van Til (1895-1987) is the charge of fideism. One doesn’t have to look far in the relevant literature to find Van Tillians disregarded or said to hold to a position that undermines Christian apologetics.1 Though the term “fideism” is being rehabilitated in some circles2, fideism is anti-apologetic and widely understood as a dogmatic proclamation of one’s view irrespective of rational argument. Nothing seems to demonstrate the fideism of presuppositionalism, so it is believed, as their rejection of linear reasoning. Van Tillians are said to embrace, as a fundamental rule of their approach, the fallacy of begging the question. If this is true, presuppositionalists fail to adequately “give a reason for [their] hope” in Christ (cf. 1 Pet. 3:15). Van Til is painted as an authoritarian who makes bare authority claims without appeal to the content of Christian faith.3 If argumentation is flouted then all that remains is a shouting match between competing authority claims. This brings to mind the argumentative stalemate in the “apologetic parable” of the “Shadoks” and the “Gibis” by John Warwick Montgomery in Van Til’s festschrift Jerusalem and Athens.4 The Purpose of this Article Too often in the literature Van Tillians are dismissed by the twin charges of circularity and fideism. In fact, I would dare say most objections to Van Til’s approach are rooted in these apparent boogey-men. -
From the Odyssey, Part 1: the Adventures of Odysseus
from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall. -
Part 1: Odyssey Unit 2016 Part 1: Odyssey Unit 2016
PART 1: ODYSSEY UNIT 2016 PART 1: ODYSSEY UNIT 2016 ` PART 1: ODYSSEY UNIT 2016 Homer opens with an invocation, or prayer, asking the Muse° to help him sing his tale. Notice how the singer gives his listeners hints about how his story is to end. The Odyssey opens with a convention of epic poetry—the Sing in me, Muse, and through me tell the story poet’s prayer to the Muse. What does of that man skilled in all ways of contending,° the poet ask of the the wanderer, harried for years on end, Muse? after he plundered the stronghold on the proud height of Troy. 5 He saw the townlands and learned the minds of many distant men, and weathered many bitter nights and days in his deep heart at sea, while he fought only l to save his life, to bring his shipmates home. 10 But not by will nor valor could he save them, for their own recklessness destroyed them all— children and fools, they killed and feasted on the cattle of Lord Helios, the Sun, and he who moves all day through heaven took from their eyes the dawn of their return. PART 1: ODYSSEY UNIT 2016 Of these adventures, Muse, daughter of Zeus, tell us in our time, lift the great song again. Begin when all the rest who left behind them headlong death in battle or at sea What does 20 had long ago returned, while he alone still hungered Homer tell you for home and wife. Her ladyship Calypso about the hero and about clung to him in her seahollowed caves— what is going to a nymph, immortal and most beautiful, happen to him? who craved him for her own. -
The Function of Lethe
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Flinders Academic Commons This is an electronic version of an article published in M. Baker and D. Glenn (eds) 2000. ‘Dante Colloquia in Australia: 1982-1999’, Australian Humanties Press: Adelaide. Coassin, Flavia 2000. The Function of Lethe. In M. Baker and D. Glenn (eds). ‘Dante Colloquia in Australia: 1982-1999’, Australian Humanties Press: Adelaide, 95-102. THE FUNCTION OF LETHE FLAVIA COASSIN WHEN, in the last canto of the Purgatorio, Dante-character claims not to remember having ever estranged himself from Beatrice, she reminds him that he has just drunk of Lethe, and adds that his inability to remember is proof of his estrangement, just as from smoke fire is inferred: "E se tu ricordar non te ne puoi," sorridendo rispuose, "or ti rammenta come bevesti di Letè ancoi; e se dal fummo foco sargomenta, cotesta oblivion chiaro conchiude colpa ne la tua voglia altrove attenta". (Purg. XXXIII, 94-99) According to Reggio, l who also quotes Chimenz, the comparison is insubstantial, because there is no logical connection between oblivion and sin as there is between smoke and fire, and thus oblivion does not count as proof, his assumption being that there could be oblivion without sin. This assumption, however, is incorrect. In Dantes poem, as well as in the classical myths concerning the afterlife, we find that the connection between the two is, on the contrary, one of cause and effect. It is not by coincidence that the episode in question (lines 91-129) contains two instances of forgetfulness, namely, of having sinned and of Mateldas previous explanation of the function of the two rivers. -
Greek and Roman Perceptions of the Afterlife in Homer's
McNair Scholars Journal Volume 11 | Issue 1 Article 2 2007 Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Jeff Adams Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/mcnair Recommended Citation Adams, Jeff (2007) Gr" eek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid," McNair Scholars Journal: Vol. 11: Iss. 1, Article 2. Available at: http://scholarworks.gvsu.edu/mcnair/vol11/iss1/2 Copyright © 2007 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. http://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol11%2Fiss1%2F2&utm_medium=PDF&utm_campaign=PDFCoverPages Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Abstract Homer’s Odyssey says that death “is the This study is a literary analysis of way of mortals, whenever one of them Homer’s Iliad and Odyssey and Virgil’s should die, for the tendons no longer Aeneid. Of specific interest are the hold flesh and bones together, but the interactions of Achilles, Odysseus, strong might of blazing fire destroys and Aeneas with their beloved dead. these things as soon as the spirit has left I focused on what each party, both the the white bones, and the soul, having living and the dead, wanted and the flown away like a dream, hovers about.”1 results of their interaction. Methods People have always been fascinated by included reading passages from the death and the afterlife. -
Read the Article As
Helena Forshell ROCK ART An attempt to understand rock art motifs through ancient literature, epics of creation and the history of metals IN WORKS AND DAYS (probably written down that the different properties of the metals in the 9th century B.C.) by the Greek Hesiod, the may have brought about the growing cruelty first humans are described as a golden race, and greed of man. In which way may the so- ”living like gods without sorrow of heart, re- cial behaviour of man be influenced by the mote and free from toil and grief. When they availability of metals and knowledge of their died, it was as though they were overcome properties? First, a brief outline of the qualities with sleep … they had all good things; for of gold, silver and copper. the fruitful earth unforced bare them fruit abundantly and without stint”. “The second generation which was of silver was less no- Gold ble by far … when they were full grown and Thousands of gold occurrences, most of them were come to the full measure of there prime, less profitable have been discovered in Europe they lived only a little time and that in sorrow alone. There, and in Caucasus, Ural and the because of their foolishness, for they could Himalayas, the heavy gold has accumulated not keep from sinning and from wronging in sea-beds and rivers through erosion of the one another”. The third generation, that of rock. Already in prehistoric times, gold was bronze, was violent, ”… they ate no bread, sifted in large quantities. Parrish (p. -
Gilgameshgilgamesh
HalloweenHalloween (All(All --HallowsHallows --Eve)Eve) SunsetSunset Oct.Oct. 3131 toto SunsetSunset Nov.Nov. 11 Roots: Gaelic (Ireland, Scotland) pagan festival of Samhain (sau:in ) and the Christian holy day of All Saints. Old Irish “summer’s end,” the end of the lighter half of the year and the beginning of “the darker half.” Festival of the dead. Ancient Gaels: The border between this world and the otherworld became thin on Samhain, allowing spirits, both harmless and harmful, to pass through. SamhainSamhain Some animals are being slaughtered and plants are dying. Bonfires : People and livestock walk between them as a cleansing ritual; bones of slaughtered animals are cast into the flames. Costumes and masks are worn to copy the spirits or placate them. Young men with masked , veiled or blackened faces, dressed in white. Shamhnag —turnips which were hollowed out and carved with faces to make lanterns —were also used to ward off harmful spirits. SamhainSamhain 22 Was also called F eile Moingfhinne (meaning “festival of Mongfhionn,” a goddess of the pagan Irish worshipped on Samhain) . In medieval Ireland , a principal festival celebrated with a great assembly at the royal court in Tara, lasting for three days. Places are set for the dead at the Samhain feast and stories and tales of the dead are told of the ancestors. Guishers —men in disguise, were prevalent in 16 th century. Children going door to door “guising” in costumes and masks carrying turnip lanterns and offering entertainment in return fo r food or coins was traditional. SamhainSamhain 33 Divination is a common folkloric practice that has survived in r ural areas. -
Inanna: a Modern Interpretation
The University of Maine DigitalCommons@UMaine Honors College Spring 2019 Inanna: A Modern Interpretation Erin Butts University of Maine Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Communication Commons, and the Theatre and Performance Studies Commons Recommended Citation Butts, Erin, "Inanna: A Modern Interpretation" (2019). Honors College. 485. https://digitalcommons.library.umaine.edu/honors/485 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. INANNA: A MODERN INTERPRETATION By Erin Butts A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Communications, Theatre) The Honors College The University of Maine May 2019 Advisory Committee: Elizabeth Neiman, Associate Professor of English and Women’s, Gender, and Sexuality Studies, Co-Advisor Mary Jean Sedlock, Lecturer in Theatre, Production Manager, and Technical Director, Co-Advisor Daniel Bilodeau, Chair of Theatre and Dance Julie Lisnet, Instructor of Theatre Jennie Woodard, Preceptor in the Honors College © 2019 Erin H. Butts All Rights Reserved ABSTRACT Sumer has a culture lost to history. Currently, the University of Maine offers no courses about ancient Mesopotamia, one of the first civilizations. Over the years, historians have been translating the cuneiform tablets containing their religion and history. There has been one adaptation of those translations, by Diane Wolkstein in 1983 to bring the stories to a wider audience through a collection of stories around the goddess Inanna. -
It Is Now Well Known That the Constellations of the Zodiac Originated in the Ancient Land of Babylonia (Modern Day Iraq). Yet, D
It is now well known that the constellations of the Zodiac originated in the ancient land of Babylonia (modern day Iraq). Yet, despite more than a century and a half of scholarship, very little information on this subject has been made accessible to the non- specialist. We are very grateful to Gavin White for allowing us to reproduce excerpts of his recently published Babylonian Star-lore . Over the forthcoming months these articles will help to address this deficiency by presenting the lore and symbolism of the twelve Babylonian Zodiac constellations. The excerpts reproduced on this site are taken, with the author's permission, from the recently published book ' Babylonian Star-lore ' by Gavin White. THE SPRING EQUINOX PERIOD (Pages 27-9) By the time of the spring equinox, light has triumphed over darkness as the days now start to outlast the nights and as such it is a time when new life is celebrated and any lingering influences of the winter are banished. In the fields and cattle-folds, the spring is celebrated as the time of nature’s abundance when a majority of animals bear their young, the harvest is brought in and all nature springs into life. The new moon closest to the spring equinox marks the start of the calendrical New Year. And befitting this sacred juncture it is the season most closely associated with the king, who is now inaugurated and empowered by the gods to rule for another term. The constellations rising around the time of the spring equinox Contrary to its name, the Hired Man was represented in the heavens by the familiar ram or lamb of Aries . -
Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above.