Hrs 119 – Study Guide
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2013%Yale%Certamen%Invitational% Intermediate%Division% Round%1% %
2013%Yale%Certamen%Invitational% Intermediate%Division% Round%1% % 1. What elderly senator succeeded Domitian as emperor in 96 A.D.? NERVA B1 Give the name of the mistress of the Praetorian Prefect who led the conspiracy to assassinate Domitian. DOMITIA B2 What palace servant stabbed Domitian? STEPHANUS 2. What fisherman found and cared for Danaë and the infant Perseus? DICTYS B1 Name Dictys’s cruel brother. POLYDECTES B2 On what island did Dictys and Polydectes live? SERIPHOS 3. For the verb tollō, tollere give the 2nd person plural, imperfect, passive, indicative. TOLLĒBĀMINĪ B1 Make tollēbāminī 1st person. TOLLĒBĀMUR B2 Make tollēbāmur perfect. SUBLĀTĪ/-AE/-A SUMUS 4. What is the meaning of the Latin adjective melior? BETTER B1 Give an antonym of melior? PEIOR B2 Give the superlative form of peior? PESSIMUS 5. The Greek chieftains Phoenix, Ajax the Greater, and Odysseus were assembled to appease what warrior and convince him to rejoin the war against the Trojans? ACHILLES B1 Who had organized this embassy after stealing Achilles’ concubine and evoking his anger? AGAMEMNON B2 What was the name of this concubine from Lyrnessus whom Agamemnon had stolen to replace his own? BRISEÏS 6. Translate the following sentence into English: hortus cotīdiē ab animālibus rūsticīs vīsitābātur. THE GARDEN WAS (BEING) VISITED BY RUSTIC ANIMALS EVERY DAY. 2013%Yale%Certamen%Invitational% Intermediate%Division% Round%1% % B1 Now translate this sentence: herba ā nōn solum leporibus sed etiam bovibus consumpta est. THE GRASS WAS/HAS BEEN EATEN NOT ONLY BY RABBITS BUT ALSO BY COWS/HEIFERS. B2 Restate the sentence posteā agricola dēfessus leporēs gladiō interfēcit in Latin by changing the verb to the passive voice yet keeping the overall meaning the same. -
Demeter and Dionysos: Connections in Literature, Cult and Iconography Kathryn Cook April 2011
Demeter and Dionysos: Connections in Literature, Cult and Iconography Kathryn Cook April 2011 Demeter and Dionysos are two gods among the Greek pantheon who are not often paired up by modern scholars; however, evidence from a number of sources alluding to myth, cult and iconography shows that there are similarities and connections observable from our present point of view, that were commented upon by contemporary authors. This paper attempts to examine the similarities and connections between Demeter and Dionysos up through the Classical period. These two deities were not always entwined in myth. Early evidence of gods in the Linear B tablets mention Dionysos as the name of a deity, but Demeter’s name does not appear in the records until later. Over the centuries (up to approximately the 6th century as mentioned in this paper), Demeter and Dionysos seem to have been depicted together in cult and in literature more and more often. In particular, the figure of Iacchos in the Eleusinian cult seems to form a bridging element between the two which grew from being a personification of the procession for Demeter, into being a Dionysos figure who participated in her cult. Literature: Demeter and Dionysos have some interesting parallels in literature. To begin with, they are both rarely mentioned in the Homeric poems, compared to other gods like Hera or Athena. In the Iliad, neither Demeter nor Dionysos plays a role as a main character. Instead they are mentioned in passing, as an example or as an element of an epic simile.1 These two divine figures are present even less often in the Odyssey, though this is perhaps a reflection of the fewer appearances of the gods overall, they are 1 Demeter: 2.696. -
Macedonian Kings, Egyptian Pharaohs the Ptolemaic Family In
Department of World Cultures University of Helsinki Helsinki Macedonian Kings, Egyptian Pharaohs The Ptolemaic Family in the Encomiastic Poems of Callimachus Iiro Laukola ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XV, University Main Building, on the 23rd of September, 2016 at 12 o’clock. Helsinki 2016 © Iiro Laukola 2016 ISBN 978-951-51-2383-1 (paperback.) ISBN 978-951-51-2384-8 (PDF) Unigrafia Helsinki 2016 Abstract The interaction between Greek and Egyptian cultural concepts has been an intense yet controversial topic in studies about Ptolemaic Egypt. The present study partakes in this discussion with an analysis of the encomiastic poems of Callimachus of Cyrene (c. 305 – c. 240 BC). The success of the Ptolemaic Dynasty is crystallized in the juxtaposing of the different roles of a Greek ǴdzȅǻǽǷȏȄ and of an Egyptian Pharaoh, and this study gives a glimpse of this political and ideological endeavour through the poetry of Callimachus. The contribution of the present work is to situate Callimachus in the core of the Ptolemaic court. Callimachus was a proponent of the Ptolemaic rule. By reappraising the traditional Greek beliefs, he examined the bicultural rule of the Ptolemies in his encomiastic poems. This work critically examines six Callimachean hymns, namely to Zeus, to Apollo, to Artemis, to Delos, to Athena and to Demeter together with the Victory of Berenice, the Lock of Berenice and the Ektheosis of Arsinoe. Characterized by ambiguous imagery, the hymns inspect the ruptures in Greek thought during the Hellenistic age. -
Physiology and Mysticism at Pherai. the Funerary Epigram for Lykophron
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 15 | 2002 Varia Physiology and Mysticism at Pherai. The Funerary Epigram for Lykophron Aphrodite A. Avagianou Electronic version URL: http://journals.openedition.org/kernos/1368 DOI: 10.4000/kernos.1368 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2002 ISSN: 0776-3824 Electronic reference Aphrodite A. Avagianou, « Physiology and Mysticism at Pherai. The Funerary Epigram for Lykophron », Kernos [Online], 15 | 2002, Online since 21 April 2011, connection on 20 April 2019. URL : http:// journals.openedition.org/kernos/1368 ; DOI : 10.4000/kernos.1368 Kernos Kernos 15 (2002), p. 75-89. Physiology and Mysticism at Pherai. The Funerary Epigram for Lykophron* Ta the starry heaven, where my saut will live. For historians of religion, a funerary epigram from Pherai dated to the early Hellenistic period1 has special interest. The text is as follows: Znvàc; ànà QU;,nc; IlEyéû,ou AUXOqJQillV 6 <PLÀLOXOU oo1;nL, àÀn8ElaL ôÈ Èx nUQàc; à8uvérrou' xut ｾｷ Èv OÙQUVLOLC; èiOtQOLC; iJJtà nutQàc; àEQ8ElC;' oWIlU ôÈ IlntQàc; ÈlliiC; IlntÉQu yf\v XatÉXEL. I, Lykophron, the son of Philiskos, seem sprung from the root of great Zeus, but in truth am from the immortal fire; and l live among the heavenly stars uplifted by my father; but the body born of my mother oecupies mother-earth. The main idea of the epigram, that the soul of the dead goes to the astral heaven while the body returns to the earth, that is, the mother, is easy to grasp and it could be argued that this notion is a standard expression in funerary epigrams. -
1 Mystery Cults and Visual Language in Graeco-Roman Antiquity: an Introduction
1 Mystery Cults and Visual Language in Graeco-Roman Antiquity: An Introduction Nicole Belayche and Francesco Massa Like the attendants at the rites, who stand outside at the doors […] but never pass within. Dio Chrysostomus … Behold, I have related things about which you must remain in igno- rance, though you have heard them. Apuleius1 ∵ These two passages from two authors, one writing in Greek, the other in Latin, set the stage of this book on Mystery cults in Visual Representation in Graeco-Roman Antiquity. In this introductory chapter we begin with a broad and problematiz- ing overview of mystery cults, stressing the original features of “mysteries” in the Graeco-Roman world – as is to be expected in this collection, and as is necessary when dealing with this complex phenomenon. Thereafter we will address our specific question: the visual language surrounding the mysteries. It is a complex and daunting challenge to search for ancient mysteries,2 whether represented textually or visually, whether we are interested in their 1 Dio Chrysostomus, Discourses, 36, 33: ὅμοιον εἶναι τοῖς ἔξω περὶ θύρας ὑπηρέταις τῶν τελετῶν […] οὐδέ ποτ’ ἔνδον παριοῦσιν (transl. LCL slightly modified); Apuleius, Metamorphoses, 11, 23: Ecce tibi rettuli, quae, quamvis audita, ignores tamen necesse est (transl. J. Gwyn Griffiths, Apuleius of Madauros, The Isis-Book (Metamorphoses, book XI) (Leiden, Brill: 1975), 99). 2 Thus the program (2014–2018) developed at the research center AnHiMA (UMR 8210, Paris) on “Mystery Cults and their Specific Ritual Agents”, in collaboration with the programs “Ambizione” and “Eccellenza”, funded by the Swiss National Science Foundation (SNSF) and hosted by the University of Geneva (2015–2018) and University of Fribourg (2019–2023). -
Resounding Mysteries: Sound and Silence in the Eleusinian Soundscape
Body bar (print) issn 2057–5823 and bar (online) issn 2057–5831 Religion Article Resounding mysteries: sound and silence in the Eleusinian soundscape Georgia Petridou Abstract The term ‘soundscape’, as coined by the Canadian composer R. Murray Schafer at the end of the 1960s, refers to the part of the acoustic environment that is per- ceivable by humans. This study attempts to reconstruct roughly the Eleusinian ‘soundscape’ (the words and the sounds made and heard, and those others who remained unheard) as participants in the Great Mysteries of the two Goddesses may have perceived it in the Classical and post-Classical periods. Unlike other mystery cults (e.g. the Cult of Cybele and Attis) whose soundscapes have been meticulously investigated, the soundscape of Eleusis has received relatively little attention, since the visual aspect of the Megala Mysteria of Demeter and Kore has for decades monopolised the scholarly attention. This study aims at putting things right on this front, and simultaneously look closely at the relational dynamic of the acoustic segment of Eleusis as it can be surmised from the work of well-known orators and philosophers of the first and second centuries ce. Keywords: Demeter; Eleusis; Kore; mysteries; silence; sound; soundscape Affiliation University of Liverpool, UK. email: [email protected] bar vol 2.1 2018 68–87 doi: https://doi.org/10.1558/bar.36485 ©2018, equinox publishing RESOUNDING MYSTERIES: SOUND AND SILENCE IN THE ELEUSINIAN SOUNDSCAPE 69 Sound, like breath, is experienced as a movement of coming and going, inspiration and expiration. If that is so, then we should say of the body, as it sings, hums, whistles or speaks, that it is ensounded. -
The Cambridge Companion to Greek Mythology (2007)
P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr. -
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. -
Metamorphosis of Love: Eros As Agent in Revolutionary and Post-Revolutionary France" (2017)
University of Central Florida STARS Honors Undergraduate Theses UCF Theses and Dissertations 2017 Metamorphosis of Love: Eros as Agent in Revolutionary and Post- Revolutionary France Jennifer N. Laffick University of Central Florida Part of the History of Art, Architecture, and Archaeology Commons Find similar works at: https://stars.library.ucf.edu/honorstheses University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by the UCF Theses and Dissertations at STARS. It has been accepted for inclusion in Honors Undergraduate Theses by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Laffick, Jennifer N., "Metamorphosis of Love: Eros as Agent in Revolutionary and Post-Revolutionary France" (2017). Honors Undergraduate Theses. 195. https://stars.library.ucf.edu/honorstheses/195 METAMORPHOSIS OF LOVE: EROS AS AGENT IN REVOLUTIONARY AND POST-REVOLUTIONARY FRANCE by JENNIFER N. LAFFICK A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Art History in the College of Arts and Humanities and in The Burnett Honors College at the University of Central Florida Orlando, Florida Spring Term, 2017 Thesis Chair: Dr. Margaret Zaho ABSTRACT This thesis chronicles the god of love, Eros, and the shifts of function and imagery associated with him. Between the French Revolution and the fall of Napoleon Eros’s portrayals shift from the Rococo’s mischievous infant revealer of love to a beautiful adolescent in love, more specifically, in love with Psyche. In the 1790s, with Neoclassicism in full force, the literature of antiquity was widely read by the upper class. -
Aspects of the Demeter/Persephone Myth in Modern Fiction
Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed. -
Classic Collection Extrait De Parfum
classic collection Extrait de Parfum Here they are, inspired by travel notes in a TTPROF/ARE TTPROF/LAU Extrait de Parfum ROUND Extrait de Parfum SQUARE as ancient and well-worn as the knowledge of leather-bound notebook 100 ml - 3,4 fl. oz. 100 ml - 3,4 fl. oz. our craft (passed down for three generations): two new creations, perfumes with notes 66 mm h 97 mm 56x56 mm h 97 mm of memory and soul, perfectly capturing the emotions. These perfumes represent two 2,60 in h 3,82 in 2,20x2,20 in h 3,82 in more steps in this marvellous and ongoing journey, towards the magnificence of fire and emotions of fantastical experiences and encounters. The most carefree and joyful stop on this incredible journey is the beautiful Sicily, where History, Art and Nature are intertwined The most bohemian stop on this unforgettable journey is the mythical Paris during a rainy autumn day, but warm with winding in an enchanting sea of emotions. Wild beaches, ancient ruins and squares surrounded by baroque buildings frame this Mediterranean watercolours, blended as in painting by Renoir. The smell of the rain beating on the slate roof mixes with the stone streets lit by place that embodies one of the most mysterious and, at the same time, oldest of Italian beauties. All the colourful sounds of Sicily dim lights. A small fire at a crossroads of Montmartre heats musicians and acrobats that await tourists after the rain. The magical are enclosed in this exquisite perfume extract. You will find delicious fruits paired with sublime smelling flowers, before reverberating atmosphere is seeped with precious and rare scents that echo the mysterious art of a timeless place. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.