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Homeric Time Travel Erwin F
Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 7-2018 Homeric Time Travel Erwin F. Cook Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Cook, E.F. (2018). Homeric time travel. Literary Imagination, 20(2), 220-221. doi:10.1093/litimag/imy065 This Post-Print is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Homeric Time Travel In a recent pair of articles I argued that the Odyssey presents itself as the heroic analogue to, or even substitute for, fertility myth.1 The return of Odysseus thus heralds the return of prosperity to his kingdom in a manner functionally equivalent to the return of Persephone, and with her of life, to earth in springtime. The first paper focused on a detailed comparison of the plots of the Homeric Hymn to Demeter and the Odyssey;2 and the second on the relationship between Persephone’s withdrawal and return and the narrative device of ring-composition.3 In my analysis of ring-composition, I concluded that what began as a cognitive and functional pattern, organizing small-scale narrative structures, evolved into an aesthetic pattern, organizing large blocks of narrative, before finally becoming an ideological pattern, connecting the hero’s return to the promise of renewal offered by fertility myth and cult. -
Naming the Extrasolar Planets
Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named. -
OMC | Data Export
Zoia Barzakh, "Entry on: The Grandson of Perseus. Book 2: The Son of the Lame Alcaeus [Внук Персея. Книга вторая: Сын хромого Алкея] by Henry Lion Oldie [The pen name of Ukrainian fantasy fiction writers Dmitry Gromov and Oleg Ladyzhensky] ", peer-reviewed by Lisa Maurice and Elizabeth Hale. Our Mythical Childhood Survey (Warsaw: University of Warsaw, 2018). Link: http://omc.obta.al.uw.edu.pl/myth-survey/item/462. Entry version as of September 23, 2021. Henry Lion Oldie [The pen name of Ukrainian fantasy fiction writers Dmitry Gromov and Oleg Ladyzhensky] The Grandson of Perseus. Book 2: The Son of the Lame Alcaeus [Внук Персея. Книга вторая: Сын хромого Алкея] Russia (2012) TAGS: Acrisius Alcaeus Alcmene Amphitryon Argos Atreus Cephalus Comaetho Creon Dionysus Electryon Human sacrifices Mycenae Pelops Perseus Poseidon Pterolaus Teleboans Teumessian fox Thyestes Tyrinth Zeus We are still trying to obtain permission for posting the original cover. General information The Grandson of Perseus. Book 2: The Son of the Lame Alcaeus Title of the work [Внук Персея. Книга вторая: Сын хромого Алкея] Country of the First Edition Russia Country/countries of popularity Russia; Ukraine; Belarus; Moldova Original Language Russian First Edition Date 2012 Генри Лайон Олди, Внук Персея. Книга вторая: Сын хромого Алкея. Москва: Издательство «Эксмо-Пресс», 2012, 416 стр. First Edition Details [Henry Lion Oldie, The Grandson of Perseus. Book 2: The Son Of the Lame Alcaeus. Moscow: Exmo-Press, 2012, 416 pp.] ISBN 9785699554379 Genre Fantasy fiction, Mythological fiction, Myths, Novels Target Audience Young adults (15-25) Author of the Entry Zoia Barzakh, Bar Ilan University, [email protected] 1 This Project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 Research and Innovation Programme under grant agreement No 681202, Our Mythical Childhood.. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. -
Greek Mythology
Greek Mythology The Creation Myth “First Chaos came into being, next wide bosomed Gaea(Earth), Tartarus and Eros (Love). From Chaos came forth Erebus and black Night. Of Night were born Aether and Day (whom she brought forth after intercourse with Erebus), and Doom, Fate, Death, sleep, Dreams; also, though she lay with none, the Hesperides and Blame and Woe and the Fates, and Nemesis to afflict mortal men, and Deceit, Friendship, Age and Strife, which also had gloomy offspring.”[11] “And Earth first bore starry Heaven (Uranus), equal to herself to cover her on every side and to be an ever-sure abiding place for the blessed gods. And earth brought forth, without intercourse of love, the Hills, haunts of the Nymphs and the fruitless sea with his raging swell.”[11] Heaven “gazing down fondly at her (Earth) from the mountains he showered fertile rain upon her secret clefts, and she bore grass flowers, and trees, with the beasts and birds proper to each. This same rain made the rivers flow and filled the hollow places with the water, so that lakes and seas came into being.”[12] The Titans and the Giants “Her (Earth) first children (with heaven) of Semi-human form were the hundred-handed giants Briareus, Gyges, and Cottus. Next appeared the three wild, one-eyed Cyclopes, builders of gigantic walls and master-smiths…..Their names were Brontes, Steropes, and Arges.”[12] Next came the “Titans: Oceanus, Hypenon, Iapetus, Themis, Memory (Mnemosyne), Phoebe also Tethys, and Cronus the wily—youngest and most terrible of her children.”[11] “Cronus hated his lusty sire Heaven (Uranus). -
Central Balkans Cradle of Aegean Culture
ANTONIJE SHKOKLJEV SLAVE NIKOLOVSKI - KATIN PREHISTORY CENTRAL BALKANS CRADLE OF AEGEAN CULTURE Prehistory - Central Balkans Cradle of Aegean culture By Antonije Shkokljev Slave Nikolovski – Katin Translated from Macedonian to English and edited By Risto Stefov Prehistory - Central Balkans Cradle of Aegean culture Published by: Risto Stefov Publications [email protected] Toronto, Canada All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without written consent from the author, except for the inclusion of brief and documented quotations in a review. Copyright 2013 by Antonije Shkokljev, Slave Nikolovski – Katin & Risto Stefov e-book edition 2 Index Index........................................................................................................3 COMMON HISTORY AND FUTURE ..................................................5 I - GEOGRAPHICAL CONFIGURATION OF THE BALKANS.........8 II - ARCHAEOLOGICAL DISCOVERIES .........................................10 III - EPISTEMOLOGY OF THE PANNONIAN ONOMASTICS.......11 IV - DEVELOPMENT OF PALEOGRAPHY IN THE BALKANS....33 V – THRACE ........................................................................................37 VI – PREHISTORIC MACEDONIA....................................................41 VII - THESSALY - PREHISTORIC AEOLIA.....................................62 VIII – EPIRUS – PELASGIAN TESPROTIA......................................69 -
The Voyage of the Argo and Other Modes of Travel in Apollonius’ Argonautica
THE VOYAGE OF THE ARGO AND OTHER MODES OF TRAVEL IN APOLLONIUS’ ARGONAUTICA Brian D. McPhee A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2016 Approved by: William H. Race James J. O’Hara Emily Baragwanath © 2016 Brian D. McPhee ALL RIGHTS RESERVED ii ABSTRACT Brian D. McPhee: The Voyage of the Argo and Other Modes of Travel in Apollonius’ Argonautica (Under the direction of William H. Race) This thesis analyzes the Argo as a vehicle for travel in Apollonius’ Argonautica: its relative strengths and weaknesses and ultimately its function as the poem’s central mythic paradigm. To establish the context for this assessment, the first section surveys other forms of travel in the poem, arranged in a hierarchy of travel proficiency ranging from divine to heroic to ordinary human mobility. The second section then examines the capabilities of the Argo and its crew in depth, concluding that the ship is situated on the edge between heroic and human travel. The third section confirms this finding by considering passages that implicitly compare the Argo with other modes of travel through juxtaposition. The conclusion follows cues from the narrator in proposing to read the Argo as a mythic paradigm for specifically human travel that functions as a metaphor for a universal and timeless human condition. iii parentibus meis “Finis origine pendet.” iv ACKNOWLEDGEMENTS First and foremost, I owe a tremendous debt of gratitude to my director and mentor, William Race. -
Aus: Zeitschrift Für Papyrologie Und Epigraphik 73 (1988) 15–18 © Dr. Rudolf Habelt Gmbh, Bonn
EDITH HALL WHEN DID THE TROJANS TURN INTO PHRYGIANS? ALCAEUS 42.15 aus: Zeitschrift für Papyrologie und Epigraphik 73 (1988) 15–18 © Dr. Rudolf Habelt GmbH, Bonn 15 WHEN DID THE TROJANS TURN INTO PHRYGIANS? ALCAEUS 42.15 The Greek tragedians reformulated the myths inherited from the epic cycle in the light of the distinctively 5th-century antithesis between Hellene and barbarian. But in the case of the Trojans the most significant step in the process of their "barbarisation" was their acquisition of a new name, "Phryg- ians".1) In the Iliad, of course, the Phrygians are important allies of Troy, but geographically and politically distinct from them (B 862-3, G 184-90, K 431, P 719). The force of the distinction is made even plainer by the composer of the Homeric Hymn to Aphrodite, which may date from as early as the 7th century,2) where the poet introduces as an example of the goddess's power the story of her seduction of Anchises. She came to him in his Trojan home, pre- tending to be a mortal, daugter of famous Otreus, the ruler of all Phrygia (111-112). But then she immediately explained why they could converse with- out any problem (113-116); I know both your language and my own well, for a Trojan nurse brought me up in my palace: she took me from my dear mother and reared me when I was a little child. And that is why I also know your language well. So the Trojans and Phrygians are quite distinct, politically, geographically, and linguistically. -
PERSEPHONE the Harvard Undergraduate Classics Journal Vol 1, No. 1, Winter 2016 Table of Contents
PERSEPHONE The Harvard Undergraduate Classics Journal Vol 1, No. 1, Winter 2016 Table of Contents Letter from the Editors | Talia Boylan and Nick Ackert, Harvard College………………………….i Bob Dylan and the Classics: An Interview with Professor Richard F. Thomas…………………….1 The Shortfall of Sticks and Stones | Elissa Foord, Cambridge University………………………….5 Selections from the Formularies of Angers and Marculf | Jane Jacoby, Brown University……….21 The Dialect of Sappho and Alcaeus and the Dialect of Epigraphic Lesbian | Keita Kashima, Oxford University………………………………………………………………………………………...31 Amphion’s Worthless Walls | Nathan May, University of Pennsylvania…………..……………43 The Adonis Complex | Carman Romano, Haverford College…………………………………...46 The Poplar Field (Translation) | Daniel Schewennicke, Oxford University…………………..…60 Cover portrait, Narcissus by John William Waterhouse (1912), accessed from Wikimedia Commons under public domain. Dear Readers, It is our pleasure to bring Persephone back to the land of the living after a protracted, chthonic residency of nearly three years. In order that she may spread her bounty as far as possible, we have decided to relocate her to the worldwide web. This new medium will allow us to post articles with greater frequency and, in so doing, increase dialogue among undergraduate classical scholars at universities and colleges across the globe. We have selected articles that we feel reflect the tremendous breadth of our colleagues’ research. These articles address topics that range from Platonic philosophy, to medieval law codes, to verse translations and beyond. The swathe of institutions from which we have solicited articles is likewise diverse; our contributing authors attend schools all over the world, including the University of Oxford, the University of Cambridge, the University of Pennsylvania, Haverford College and Brown University. -
Lecture 23 Okay on Monday You Talked About What It Takes to Make a Hero, Versus Hughes’S Herometer
Lecture 23 Okay on Monday you talked about what it takes to make a hero, versus Hughes’s Herometer. How did that go? Do you have a pretty good idea of what a hero is in general? Or did he talk specifically about a Greek hero? Just in general. So you know some things that are going to happen in the Heracles myth, even before we start, right? Okay, we’ll start with his name, which means what? Ankle? No, you’re thinking maybe of Oedipus on that one. The material I am lecturing to you is taken from pages 420-448 in your book. We’ll go through the material as it’s presented, basically, through the book if you want to take a look there. His name means something to do with Hera. Pain of Hera? Close. It is the glory of Hera, believe it or not. So the person or the divinity that gives him the most trouble in his life and causes him to do some very horrible things, turns out to be his patron, of sorts. What he does glorifies her, according to the name, anyhow. Now, when you have a hero, they don’t just spring from anywhere or nowhere. They generally have something in their background to indicate they’re going to do something glorious. So let’s take a look at Heracles’ heritage. Where does he ultimately come from? Who is in his background that’s illustrious? Yeah, Zeus himself is the father. If you look at the chart on Heracles’ heritage you’ll be able to see this a bit better. -
Topos Și Mitologie in Spatiul European
AMARINEI Tania-Mihaela FOCA Alina ROMAN Tatiana Suport de curs – Opţional interdisciplinar elaborat in cadrul Proiectului de mobilitate ERASMUS+, Cercetare, dezvoltare şi inovare prin intermediul metodelor activ-participative, 2015-2017 Nr. de referinţă 1-RO01-KA101-014483 DOROHOI, 2017 TOPOS ŞI MITOLOGIE ÎN SPAŢIUL EUROPEAN Autori AMARINEI TANIA, FOCA ALINA ROMAN TATIANA ISBN 978-973-0-25424-2 Suport de curs – Opţional interdisciplinar elaborat in cadrul Proiectului de mobilitate ERASMUS+, Cercetare, dezvoltare şi inovare prin intermediul metodelor activ-participative, 2015-2017 Nr. de referinţă 1-RO01-KA101-014483 CUPRINS I. Introducere în Mitologie…………………………………………………………………...3 1.Cultură şi mitologie……………………………………………………………………..….4 2. Funcţii ale mitului……………………………………………………………………….…7 3.Perspective şi metode de abordare a mitului:……………………………………………9 II.Mitologia greacă şi romană - realitate culturală complexă…………………………18 Eroii greci…………………………………………………………………………………....44 1 TOPOS SI MITOLOGIE IN SPATIUL EUROPEAN 2 TOPOS SI MITOLOGIE IN SPATIUL EUROPEAN I. Introducere în Mitologie Mitologia este un ansamblu relativ coerent de mituri, întâmplări care descriu o anumită religie sau un sistem de valori. Cuvântul "mitologie" provine din limba greacă (μυθολογία), din fuziunea cuvintelor "mythos" ("poveste" sau "legendă") și "logos" ("cuvânt"). În general, miturile sunt opere literare narative tradiționale care au rolul de a explica diferite fenomene ale naturii, originea omului și a animalelor, etc. De obicei, miturile implică prezența unui element sacru, a unor zeități, a unor forțe fabuloase, supraomenești. Miturile se suprapun adeseori cu legendele, diferențele dintre acestea fiind că legendele au un sâmbure de adevăr, în timp ce miturile sunt complet imaginare. Termenul "mitologie" poate include totalitatea miturilor dintr-o cultură sau o religie (de exemplu: mitologie greacă, mitologie egipteană, mitologie nordică) sau o știință care se ocupă cu reconstruirea, studiul și interpretarea miturilor. -
Poseidon's Paradise
" BANCROFT IA. LIBRARY 0- THE LIBRARY OF THE UNIVERSITY ir OF CALIFORNIA V 5^;-< f . ,JS^ , . yfe%T>^ AjLj^r : ^^|: ^^^p^^fe^ %^f)|>^^y^^ V>J? r ^ / -Vr T^^^S?^^ yiivV(^ " " i^V^ ^^- r s V V v '4- ^ ^r^--^r^ %^<^(.|^^ - i!lSSsSS I^^^P^P, ^tmws-^- : Adapted from Ignatius Donnelly's map of Atlantis, page 47 of the "Atlantis," by per- lission of Harper & Brothers. Cleit, Chimo, and Luith are names fictitious. POSEIDON'S PARADISE The Romance of Atlantis BY ELIZABETH G. BIRKMAIER 415 MONTGOMERY STREET 1892. \7 of COPYRIGHT, 1892, BY ELIZABETH G. BIRKMAIER. All Rights Reserved. T Uf: CONTENTS. PAGE. I. A DECLARATION OF WAR . 5 II. QUEEN ATLANA 20 III. ATLANTIS VERSUS PELASGIA 29 IV. THE PELASGIAN CAPTIVES 38 V. THE ABDUCTION 55 VI. THE VOICE 67 VII. THE TEMPLE 79 VIII. POSEIDON'S FESTIVAL DAY 98 IX. THE 'SILENT PRIEST' ;.. in X. LIGHT ON THE PATH. 127 XI. THE HAPPENING OF THE UNEXPECTED 142 XII. THE EARTHQUAKE CONFOUNDS 153 XIII. IN THE 'DEEPS' 162 XIV. A TIMELY TORRENT 176 XV. THE ALTAR FIRES Go OUT 198 XVI. THE SILENT ONE SPEAKS 217 XVII. THE SINKING OF THE ISLAND 237 ' XVIII . PYRRHA 253 XIX. THE BEGINNING OF PEACE 269 XX. HAPPY PAIRS 275 XXI. IN PELASGIA 291 "Time dissipates to shining ether the solid angularity offacts.. No anchor, no cable, nofences avail to keep a fact a fact. Babylon, and Troy, and Tyre, and even early Rome are passing into fiction. The Garden of Eden, the sun standing still in Gibeon, is poetry thenceforward to all nations' ' EMERSON.