Caduceus: a Medical Symbol of Deception, Or Is There More to That?
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The Myth of the Messenger Jules Cashford
ARAS Connections Issue 3, 2011 Figure 1 The Etruscan Hermes. Terracotta statue head. Museo Nazionale di Villa Giulia, Rome. C. 500 BC. The Myth of the Messenger Jules Cashford The images in this paper are strictly for educational use and are protected by United States copyright laws. Unauthorized use will result in criminal and civil penalties. 1 ARAS Connections Issue 3, 2011 The German novelist Thomas Mann, in his address on the occasion of Freud’s 80 th birthday, spoke of myth as offering a “smiling knowledge of eternity” – such, perhaps, as is evoked by this Etruscan Hermes of 500 BC (1936, p. 89) It is impossible to define Imagination since the only definition we can make is that we are far from it when we talk about it. It is perhaps a power so ultimate that only its own numinous images can call it forth, as though we have, as it were, to ask the Imagination to imagine itself. We might say that whenever there is numinosity – a coming alive of divine presence – literally, the “nod” or “beckoning” of a god – whenever an image becomes translucent to a reality beyond itself, we are in the presence of Imagination. The images that come towards us – as divinities, daimons, soul-birds, angels, geniuses, muses – are all figures who bring messages from afar or beyond, from the heights or the depths – the realms where consciousness may not go, yet on which it rests and through which it grows. “Wisdom first speaks in images,” W. B. Yeats, says (1961, p. 95). The role of “the messenger” is to go between, and so to connect, two terms – gods or persons or worlds or states of being. -
Worms, Nematoda
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications from the Harold W. Manter Laboratory of Parasitology Parasitology, Harold W. Manter Laboratory of 2001 Worms, Nematoda Scott Lyell Gardner University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/parasitologyfacpubs Part of the Parasitology Commons Gardner, Scott Lyell, "Worms, Nematoda" (2001). Faculty Publications from the Harold W. Manter Laboratory of Parasitology. 78. https://digitalcommons.unl.edu/parasitologyfacpubs/78 This Article is brought to you for free and open access by the Parasitology, Harold W. Manter Laboratory of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications from the Harold W. Manter Laboratory of Parasitology by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Encyclopedia of Biodiversity, Volume 5 (2001): 843-862. Copyright 2001, Academic Press. Used by permission. Worms, Nematoda Scott L. Gardner University of Nebraska, Lincoln I. What Is a Nematode? Diversity in Morphology pods (see epidermis), and various other inverte- II. The Ubiquitous Nature of Nematodes brates. III. Diversity of Habitats and Distribution stichosome A longitudinal series of cells (sticho- IV. How Do Nematodes Affect the Biosphere? cytes) that form the anterior esophageal glands Tri- V. How Many Species of Nemata? churis. VI. Molecular Diversity in the Nemata VII. Relationships to Other Animal Groups stoma The buccal cavity, just posterior to the oval VIII. Future Knowledge of Nematodes opening or mouth; usually includes the anterior end of the esophagus (pharynx). GLOSSARY pseudocoelom A body cavity not lined with a me- anhydrobiosis A state of dormancy in various in- sodermal epithelium. -
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos By: Anmol Singh, Kesia Santos, and Yuri Seo Biographical, Cultural, and Historical Background The Greek Theater - Sophocles was one of the prominent figures in Greek theater. - Plays were performed in outdoor areas. - There were a limited number of actors and a chorus.6 - Antigone was mostly likely performed in the same fashion. AS Family Tree YS What do Scene 4, Ode 4, Scene 5, Paean and Exodos of Antigone focus on? - Family Conflict (internal and external) - Death (tragedy) - Poor judgment - Feeling and thinking - Fate - Loyalty - Love YS Genres & Subgenres Tragedy - Not completely like modern tragedies (ex. sad & gloomy). - Tragedies heavily used pathos (Greek for suffering). - Used masks and other props. - Were a form of worship to Dionysus.7 AS Tragic Hero - Antigone and Creon are both like tragic heros. - Each have their own hamartia which leads to their downfalls.8,9 AS Family Conflict & Tragedy in Antigone - Antigone hangs herself - Haimon stabs himself - Eurydice curses Creon and blames him for everything - Eurydice kills herself YS Dominant Themes Family: The story of Niobe - Antigone relates her story to the story of Niobe. - Antigone says “How often have I hear the story of Niobe, Tantalus’s wretched daughter…” (18) - Chorus tells Antigone that Niobe “was born of heaven,” but Antigone is a woman. YS Womanhood - Antigone defies the place a woman is supposed to have during this time period - Antigone and Ismene contrast each other - Creon is the prime example of the beliefs that males hold during this period KS Power and Corruption: Dryas and Lycurgus - A character the chorus compares to Antigone is Lycurgus. -
7227134.Pdf (14.36
INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s|". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Progress Toward Global Eradication of Dracunculiasis — January 2012–June 2013
Morbidity and Mortality Weekly Report Weekly / Vol. 62 / No. 42 October 25, 2013 Progress Toward Global Eradication of Dracunculiasis — January 2012–June 2013 Dracunculiasis (Guinea worm disease) is caused by water from bore-hole or hand-dug wells (6). Containment of Dracunculus medinensis, a parasitic worm. Approximately transmission,* achieved through 1) voluntary isolation of each 1 year after infection from contaminated drinking water, the patient to prevent contamination of drinking water sources, worm emerges through the skin of the infected person, usually 2) provision of first aid, 3) manual extraction of the worm, on the lower limb. Pain and secondary bacterial infection can and 4) application of occlusive bandages, complements the cause temporary or permanent disability that disrupts work four main interventions. and schooling. In 1986, the World Health Assembly (WHA) Countries enter the WHO precertification stage of eradica- called for dracunculiasis elimination (1), and the global tion after completing 1 full calendar year without reporting any Guinea Worm Eradication Program, supported by The Carter indigenous cases (i.e., one incubation period for D. medinensis). Center, World Health Organization (WHO), United Nations A case of dracunculiasis is defined as infection occurring in Children’s Fund (UNICEF), CDC, and other partners, began * Transmission from a patient with dracunculiasis is contained if all of the assisting ministries of health of dracunculiasis-endemic coun- following conditions are met: 1) the disease is detected <24 hours after worm tries in meeting this goal. At that time, an estimated 3.5 million emergence; 2) the patient has not entered any water source since the worm cases occurred each year in 20 countries in Africa and Asia emerged; 3) a volunteer has managed the patient properly, by cleaning and bandaging the lesion until the worm has been fully removed manually and by (1,2). -
Greek Mythology #23: DIONYSUS by Joy Journeay
Western Regional Button Association is pleased to share our educational articles with the button collecting community. This article appeared in the August 2017 WRBA Territorial News. Enjoy! WRBA gladly offers our articles for reprint, as long as credit is given to WRBA as the source, and the author. Please join WRBA! Go to www.WRBA.us Greek Mythology #23: DIONYSUS by Joy Journeay God of: Grape Harvest, Winemaking, Wine, Ritual Madness, Religious Ecstasy, Fertility and Theatre Home: MOUNT OLYMPUS Symbols: Thyrus, grapevine, leopard skin Parents: Zeus and Semele Consorts: Adriane Siblings: Ares, Athena, Apollo, Artemis, Aphrodite, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces Roman Counterpart: Bacchus, Liber Dionysus’ mother was mortal Semele, daughter of a king of Thebes, and his father was Zeus, king of the gods. Dionysus was the only Olympian god to have a mortal parent. He was the god of fertility, wine and the arts. His nature reflected the duality of wine: he gave joy and divine ecstasy, or brutal and blinding rage. He and his followers could not be contained by bonds. One would imagine that being the god of “good times” could be a pretty easy and happy existence. Unfortunately, this just doesn’t happen in the world of Greek mythology. Dionysus is called “twice born.” His mother, Semele, was seduced by a Greek god, but Semele did not know which god was her lover. Fully aware of her husband’s infidelity, the jealous Hera went to Semele in disguise and convinced her to see her god lover in his true form. -
The Greek Origin of Caduceum: Æsculapius
Colombia Médica Vol. 39 Nº 4, 2008 (Octubre-Diciembre) The Greek origin of caduceum: Æsculapius ARTURO G. RILLO, DR EN H* SUMMARY Introduction: Medicine history gives us the chance to reflect about the Caduceus as the synthesis of the dialectic of the sensible and spiritual life. This opens and horizon of comprehension and allow us to recover the legend of Asclepius and it’s cult with the different symbolic elements that structure it. The legend: The historic and mythological references about Asclepius’ existence gives structure to the legend in a real and not-real environment perduring in the occidental medicine tradition as a mystical reference to the deity for the medical practice. The cult: It’s based in the incubation and synthesizes healing rites and therapeutical practices, as medical as surgical; exercise, sleep cures and amusement activities. The symbol: The linguistic origin of Asclepius’ name, the symbolism of the legend protagonists and the iconographic representation of their attributes, converge in the Caduceus to represent the medical practices and ideas synthesis, all them related to the human life. Conclusion: Asclepius’ perception transcends the Olympic divinity and situates him as the healing archetype; that’s why Caduceus is consistent with the system-world representation that rules the actual medical practice. Keywords: Caduceum; Æsculapius; Æsclepius; History of medicine; Philosophy of medicine. El origen griego del caduceo: Esculapio RESUMEN Introducción: La historia de la medicina posibilita reflexionar sobre el caduceo como la síntesis de la dialéctica de la vida sensible y la espiritual. Esto abre un horizonte de comprensión y permite recuperar la leyenda de Esculapio y su culto con los diferentes elementos simbólicos que la componen. -
Conflict in the Peloponnese
CONFLICT IN THE PELOPONNESE Social, Military and Intellectual Proceedings of the 2nd CSPS PG and Early Career Conference, University of Nottingham 22-24 March 2013 edited by Vasiliki BROUMA Kendell HEYDON CSPS Online Publications 4 2018 Published by the Centre for Spartan and Peloponnesian Studies (CSPS), School of Humanities, University of Nottingham, Nottingham, NG7 2RD, UK. © Centre for Spartan and Peloponnesian Studies and individual authors ISBN 978-0-9576620-2-5 This work is ‘Open Access’, published under a creative commons license which means that you are free to copy, distribute, display, and perform the work as long as you clearly attribute the work to the authors, that you do not use this work for any commercial gain in any form and that you in no way alter, transform or build on the work outside of its use in normal academic scholarship without express permission of the authors and the publisher of this volume. Furthermore, for any reuse or distribution, you must make clear to others the license terms of this work. https://www.nottingham.ac.uk/csps TABLE OF CONTENTS FOREWORD .................................................................................................................................. i THE FAMILY AS THE INTERNAL ENEMY OF THE SPARTAN STATE ........................................ 1-23 Maciej Daszuta COMMEMORATING THE WAR DEAD IN ANCIENT SPARTA THE GYMNOPAIDIAI AND THE BATTLE OF HYSIAI .............................................................. 24-39 Elena Franchi PHILOTIMIA AND PHILONIKIA AT SPARTA ......................................................................... 40-69 Michele Lucchesi SLAVERY AS A POLITICAL PROBLEM DURING THE PELOPONESSIAN WARS ..................... 70-85 Bernat Montoya Rubio TYRTAEUS: THE SPARTAN POET FROM ATHENS SHIFTING IDENTITIES AS RHETORICAL STRATEGY IN LYCURGUS’ AGAINST LEOCRATES ................................................................................ 86-102 Eveline van Hilten-Rutten THE INFLUENCE OF THE KARNEIA ON WARFARE .......................................................... -
UNIVERSITY of CALIFORNIA Los Angeles Homer's Roads Not Taken
UNIVERSITY OF CALIFORNIA Los Angeles Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Craig Morrison Russell 2013 ABSTRACT OF THE DISSERTATION Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey by Craig Morrison Russell Doctor of Philosophy in Classics University of California, Los Angeles, 2013 Professor Alex C. Purves, Chair This dissertation is a consideration of how narratives in the Iliad and Odyssey find their shapes. Applying insights from scholars working in the fields of narratology and oral poetics, I consider moments in Homeric epic when characters make stories out of their lives and tell them to each other. My focus is on the concept of “creativity” — the extent to which the poet and his characters create and alter the reality in which they live by controlling the shape of the reality they mould in their storytelling. The first two chapters each examine storytelling by internal characters. In the first chapter I read Achilles’ and Agamemnon’s quarrel as a set of competing attempts to create the authoritative narrative of the situation the Achaeans find themselves in, and Achilles’ retelling of the quarrel to Thetis as part of the move towards the acceptance of his version over that of Agamemnon or even the Homeric Narrator that occurs over the course of the epic. In the second chapter I consider the constant storytelling that [ii ] occurs at the end of the Odyssey as a competition between the families of Odysseus and the suitors to control the narrative that will be created out of Odysseus’s homecoming. -
Greek Mythology
Greek mythology Mythical characters Gods and goddesses Zeus is the king of the gods, ruler of Mount Olympus and god of the sky. His name means ‘bright’ or ‘sky’. His royal animals are the eagle and bull. Zeus’s favourite weapon is a lightning bolt made for him by the Cyclops. Zeus can be a greedy and dishonest god. If he desires something, he is unlikely to let anything stop him from gaining it. Because of this, he often lies about his behaviour to Hera, his wife. Hera is the queen of the gods and wife of Zeus. She is the goddess of women, marriage, childbirth, heirs, kings and empires. She often carries a lotus- tipped staff. Hera never forgets an insult or injury and can be cruel or vengeful. Poseidon is the god of rivers, seas, floods, droughts and earthquakes. Brother to Zeus, he is the king of the sea and protector of all waters. Poseidon carries a trident: a spear with three points. His sacred animals are the dolphin and the horse. Athena is the goddess of wisdom, intelligence, skill, peace and warfare. According to legend, she was born out of Zeus’s forehead fully formed and fully armoured. She looks over heroes such as Odysseus and Hercules. Athena is often accompanied by a sacred owl. Her symbol is the olive tree. KS2 | Page 1 copyright 2019 Greek mythology Gods and goddesses Aphrodite is the goddess of love and beauty, who can cause gods or mortals to fall in love with whomever she chooses. Aphrodite’s sacred animals include doves and sparrows. -
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique Copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS BY LILIAN STOUGHTON HYDE YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republication of the work originally published by D. C. Heath and Company in 1904. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hundreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-261-4 ISBN-13: 978-1-59915-261-5 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE In the preparation of this book, the aim has been to present in a manner suited to young readers the Greek myths that have been world favorites through the centuries, and that have in some measure exercised a formative infl uence on literature and the fi ne arts in many countries. While a knowledge of these myths is undoubtedly necessary to a clear understanding of much in literature and the arts, yet it is not for this reason alone that they have been selected; the myths that have appealed to the poets, the painters, and the sculptors for so many ages are the very ones that have the greatest depth of meaning, and that are the most beautiful and the best worth telling. -
Venus Anadyomene: the Mythological Symbolism from Antiquity to the 19Th Century
VENUS ANADYOMENE: THE MYTHOLOGICAL SYMBOLISM FROM ANTIQUITY TO THE 19TH CENTURY By Jenna Marie Newberry A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of the Requirements of the Degree of MASTER OF ARTS IN ART HISTORY University of Wisconsin – Superior December 2011 2 3 Title: Venus Anadyomene: The Mythological Symbolism from Antiquity to the 19th Century Author: Newberry, Jenna Marie Advisors: Famule, Olawole and Morgan, William Abstract: This thesis includes reading the chosen artworks as a visual interpretation of the written mythological birth of Venus by the sea. Reading the selected painting as visual novels, the pictorial symbolism helps prove or disprove the true theme of the Venus. The writer bases her theory on the inclusion of mythological symbols that represent the Venus Anadyomene; scallop shell, dolphins, Aros, dove, sparrow, girdle, mirror, myrtle, and roses. The comparison of various artists‟ interpretations of this theme and the symbols they use to recognize the Venus as such is a substantial part of the research. The writer concludes in this thesis that the chosen art pieces are or are not a Venus Anadyomene, and in fact just a female nude entitled and themed fallaciously for an allure or ambiance. Through extensive research in the mythological symbolism of the Goddess of Love, the above-mentioned symbols used by various artists across several eras prove the Venus a true character of mythological history. Description: Thesis (M.A.) – University of Wisconsin, Superior, 2011. 30 leaves. 4 CONTENTS TITLE