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A Collection of Curricula for the STARLAB Greek Mythology Cylinder
A Collection of Curricula for the STARLAB Greek Mythology Cylinder Including: A Look at the Greek Mythology Cylinder Three Activities: Constellation Creations, Create a Myth, I'm Getting Dizzy by Gary D. Kratzer ©2008 by Science First/STARLAB, 95 Botsford Place, Buffalo, NY 14216. www.starlab.com. All rights reserved. Curriculum Guide Contents A Look at the Greek Mythology Cylinder ...................3 Leo, the Lion .....................................................9 Introduction ......................................................3 Lepus, the Hare .................................................9 Andromeda ......................................................3 Libra, the Scales ................................................9 Aquarius ..........................................................3 Lyra, the Lyre ...................................................10 Aquila, the Eagle ..............................................3 Ophuichus, Serpent Holder ..............................10 Aries, the Ram ..................................................3 Orion, the Hunter ............................................10 Auriga .............................................................4 Pegasus, the Winged Horse..............................11 Bootes ..............................................................4 Perseus, the Champion .....................................11 Cancer, the Crab ..............................................4 Phoenix ..........................................................11 Canis Major, the Big Dog -
Read Book Artemis : Virgin Goddess of the Sun and Moon
ARTEMIS : VIRGIN GODDESS OF THE SUN AND MOON PDF, EPUB, EBOOK Sorita DEste | 156 pages | 30 Sep 2005 | AVALONIA | 9781905297023 | English | London, United Kingdom Artemis : Virgin Goddess of the Sun and Moon PDF Book The book serves as a comprehensive introduction to Hera gets rather jealous. While all the troops and ships were gathering at the Port of Aulis, Agamemnon went hunting and killed a stag with his arrows. To them she was a powerful and complex goddess whose influence spread far and wide throughout the ancient world. Twin sister of the Greek god Apollo. Get help. Therefore, Artemis symbolizes the search for an inner center where there is balance. Kate Haskell rated it really liked it Apr 21, By using Learn Religions, you accept our. Find out what god and goddess your ancient ancestors worshiped and learn how you can begin to work with these deities in your practice! Another request that Zeus granted Artemis was to be ruler of the stormy mountains. Unmoved, Artemis let loose a final arrow. Fierce, defensive, with a fiery temper, Artemis is the goddess of virgins, maidens, and mothers as well as of the hunt and animals. If a follower is running from a man they can count on being turned into a spring, river or reed instrument. She didnt came to me but i was in the dark and a voice just like a news reader said we carried her long enough. Shop now. She protected women in labor , but also brought them death and sickness. According to Theoi. Please enter your comment! The story at Sparta is heavy. -
The Forum Romanum: a Kaleidoscopic Analysis
Discentes Volume 4 Issue 1 Volume 4, Issue 1 Article 8 2016 The Forum Romanum: A Kaleidoscopic Analysis Follow this and additional works at: https://repository.upenn.edu/discentesjournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Classics Commons, and the History Commons Recommended Citation . 2016. "The Forum Romanum: A Kaleidoscopic Analysis." Discentes 4, (1):34-47. https://repository.upenn.edu/discentesjournal/vol4/iss1/8 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/discentesjournal/vol4/iss1/8 For more information, please contact [email protected]. The Forum Romanum: A Kaleidoscopic Analysis This article is available in Discentes: https://repository.upenn.edu/discentesjournal/vol4/iss1/8 The Forum Romanum: A Kaleidoscopic Analysis By Allyson Zucker The Roman Forum is a place full of contradictions and unity. On a comprehensive time scale, the forum grows from a semi-random connection of buildings to the monumental center of the most powerful nation in the Mediterranean. On the other hand, from day to day, the Roman forum changed according to the Roman calendar, transforming from the holy grounds of a religious festival to bustling markets, and from a political battleground to a judicial arena. Ancient Romans experienced the forum through a kaleidoscopic lens, cheering on gladiators in front of the very rostra where Cicero delivered epic political speeches, purchasing a goat at the market before sacrificing at the Temple of Jupiter, and visiting the brothel beside the Temple of the Vestal Virgins. Martial aurally narrates a scene of the noises that resounded through the forum and compellingly portrays its chaos with 1. -
The Cult of Castor and Pollux in Ancient Rome Amber Gartrell Frontmatter More Information
Cambridge University Press 978-1-108-47755-0 — The Cult of Castor and Pollux in Ancient Rome Amber Gartrell Frontmatter More Information The Cult of Castor and Pollux in Ancient Rome The Dioscuri first appeared at the Battle of Lake Regillus in 496 bc to save the new Republic. Receiving a temple in the Forum in gratitude, the gods continued to play an important role in Roman life for centuries and took on new responsibilities as the needs of the society evolved. Protectors of elite horsemen, boxers and sailors, they also served as guarantors of the Republic’s continuation and, eventually, as models for potential future emperors. Over the course of centuries, the cult and its temples underwent many changes. In this book, Amber Gartrell explores the evolution of the cult. Drawing on a range of methodological approaches and a wide range of ancient evidence, she focuses on four key aspects: the gods’ two temples in Rome, their epiphanies, their protection of varied groups, and their role as divine parallels for imperial heirs, revealing how religion, politics and society interacted and influenced each other. Amber Gartrell is an Associate Lecturer (Teaching) in Roman History at University College London. Previously, she was a Stipendiary Lecturer in Ancient History at St Hilda’s, St John’s and Merton Colleges at the University of Oxford. Her research focuses upon the interactions between religion and other facets of Roman life, including politics, historical events and social developments. © in this web service Cambridge University Press www.cambridge.org -
SPECIAL TOURS MYTHOLOGY Gallery of Greek and Roman Casts
SPECIAL TOURS MYTHOLOGY Gallery of Greek and Roman Casts Battle of the Greeks and Amazons Temple of Apollo at Phigaleia (Bassai) Greek, late 5th c. B.C. The Mausoleion at Halikarnassos Greek, ca. 360-340 B.C. Myth: The Amazons lived in the northern limits of the known world. They were warrior women who fought from horseback usually with bow and arrows, but also with axe and spear. Their shields were crescent shaped. They destroyed the right breast of young Amazons, to facilitate use of the bow. The Attic hero Theseus had joined Herakles on his expedition against them and received the Amazon Antiope (or Hippolyta) as his share of the spoils of war. In revenge, the Amazons invaded Attica. In the subsequent battle Antiope was killed. This battle was represented in a number of works, notably the metopes of the Parthenon and the shield of the Athena Parthenos, the great cult statue by Pheidias that stood in the Parthenon. Symbolically, the battle represents the triumph of civilization over barbarism. Battle of the Gods and Giants Altar of Zeus and Athena, Pergamon (Zeus battling Giants) Greek, ca. 180 B.C. Myth: The giants, born of Earth, threatened Zeus and the other gods, and a fierce struggle ensued, the so-called Gigantomachy, or battle of the gods and giants. The giants were defeated and imprisoned below the earth. This section of the frieze from the altar shows Zeus battling three giants. The myth may reflect an event of prehistory, the arrival ca. 2000 B.C. of Greek- speaking invaders, who brought with them their own gods, whose chief god was Zeus. -
THE AENEID AS FOUNDATION STORY Gary B. Miles DEFINITIONS
Aeneid as Foundation Page 1 of 15 THE AENEID AS FOUNDATION STORY Gary B. Miles DEFINITIONS AND REFLECTIONS Foundation stories constitute a subclass of stories about beginnings.' I define a foundation story as a narrative about the origins of a particular human community that is perceived from the outset as one among several communities. In this sense a foundation story is different from a creation story, which I define as concerning the origins of the entire human race. The story of Adam and Eve, for example, is a creation story; it is set within the context of the divine creation of the cosmos; Adam and Eve are characterized by attributes that apply to all peoples: they are masters of all the animal kingdom; they are beholden to God, their creator; their loss of innocence compromises the relation of all humankind to God, and his punitive reaction to their initial sin determines the conditions of necessity under which all subsequent humans must toil. Foundation stories, by contrast, typically focus on the primacy of human initiative and agency. Even when natural or divine powers play a central role in foundations, these narratives are nonetheless concerned with the creation of a particular community and call attention to some aspect of that community's distinctiveness. Several ancient communities, for example, attributed their origins to Hercules. For each of them the identification, generally, with the more culturally "advanced" Hellenism that Hercules represented and, more specifically, with a "hero" constituted the basis for a certain superiority to surrounding communities. 2 More exclusive is the identity perpetuated by the Athenians' idea of autochthony. -
Argonauts About to Embark on the Foot of an Etruscan Bronze Cista C4th BC, Villa Giulia Rome François Vase Calydonian Boar Hunt
22/08/2018 Argonauts about to embark on the foot of an Etruscan bronze cista C4th BC, villa Giulia Rome François Vase Calydonian Boar Hunt c. 550 BC François Vase Calydonian Boar Hunt Calydonian Boar Hunt Black Figure Kylix c. 540, Munich The Argonauts Red Figure Krater Niobid Painter, Louvre The Argonauts Red Figure Krater Niobid Painter, Louvre 1 22/08/2018 Calydonian Boar Hunt Maiolica, British Museum Building of the Argo supervised by Athena Roman terracotta C1st AD, British Museum Sailors on a ship Black Figure Hydria, British Museum Disembarking from a ship François Vase c. 550 BC Castor Red Figure Calyx Krater c. 460-450 BC from Orvieto, Louvre Castor and Pollux Roman statuettes C3rd AD, Metropolitan Museum 2 22/08/2018 Castor from House of the Dioscuri Pompeii Roman C1st AD Castor and Pollux: Roman Marble original C1st BC, Prado; Marble copy based on a Plaster cast by Nollekens 1767, Victoria and Albert Museum, small porcelain version by Meissen 1789-90, British Museum Atalanta hunting deer Red Figure Pelike, British Museum Atalanta Roman Mosaic C4th AD from Halicarnassus, British Museum Meleager Roman copy of Greek original of c. 340 BC, British Museum Meleager Roman Mosaic C4th AD from Halicarnassus, British Museum 3 22/08/2018 Orpheus Red Figure Vessel Meleager hunting Red Figure Krater, British Museum Orpheus with Thracians Red Figure Vessel, Metropolitan Museum Orpheus C16th Maiolica Plate, British Museum Terracotta Siren, Palermo Sicily Sirens on a pyxis from Corinth c. 600-575 BC, British Museum 4 22/08/2018 Siren Bronze -
Mythology, Greek, Roman Allusions
Advanced Placement Tool Box Mythological Allusions –Classical (Greek), Roman, Norse – a short reference • Achilles –the greatest warrior on the Greek side in the Trojan war whose mother tried to make immortal when as an infant she bathed him in magical river, but the heel by which she held him remained vulnerable. • Adonis –an extremely beautiful boy who was loved by Aphrodite, the goddess of love. By extension, an “Adonis” is any handsome young man. • Aeneas –a famous warrior, a leader in the Trojan War on the Trojan side; hero of the Aeneid by Virgil. Because he carried his elderly father out of the ruined city of Troy on his back, Aeneas represents filial devotion and duty. The doomed love of Aeneas and Dido has been a source for artistic creation since ancient times. • Aeolus –god of the winds, ruler of a floating island, who extends hospitality to Odysseus on his long trip home • Agamemnon –The king who led the Greeks against Troy. To gain favorable wind for the Greek sailing fleet to Troy, he sacrificed his daughter Iphigenia to the goddess Artemis, and so came under a curse. After he returned home victorious, he was murdered by his wife Clytemnestra, and her lover, Aegisthus. • Ajax –a Greek warrior in the Trojan War who is described as being of colossal stature, second only to Achilles in courage and strength. He was however slow witted and excessively proud. • Amazons –a nation of warrior women. The Amazons burned off their right breasts so that they could use a bow and arrow more efficiently in war. -
The Death of Meleager on Roman Sarcophagi. In: Life, Death and Representation: Some New Work on Roman Sarcophagi
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham ePrints Lorenz, Katharina (2011) Image in distress? The death of Meleager on Roman sarcophagi. In: Life, death and representation: some new work on Roman sarcophagi. Millennium-Studien (29). De Gruyter, Berlin, pp. 305- 332. ISBN 9783110216783 Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/28750/1/10_Kap-9_Lorenz.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. -
Bulfinch's Mythology
Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34 -
!\\E+Amoryho$E$ OXFORD APPROACHES to CLASSICAL LITERATURE
OVID'S !\\e+amoryho$e$ OXFORD APPROACHES TO CLASSICAL LITERATURE SERIES EDITORS Ka|hle^ft Qfeleman and Richard Rutherford 2OVID'S Metamorphoses ELAINE FANTHAM PLATO'S Symposium RICHARD HUNTER OXFORD UNIVERSITY PRESS Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sao Paulo Shanghai Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Catalogmg-m-Pubhcation Data Fantham, Elaine. Ovid's Metamorphoses / Elaine Fantham. p. cm. — (Oxford approaches to classical literature) Includes bibliographical references and index. ISBN 0-19-515409-6; o-i9-5i54io-X (pbk.) i. Ovid, 43 B.c.-iy or 18 A.D. Metamorphoses 2. Fables, Latin—History and criticism. 3. Mythology, Classical, in literature. 4. Metamorphosis in literature. I. Title. II. Series. PA65ig.Mg F36 2004 873'.OI dc22 2OO3Olfil64 135798642 Printed in the United States of America on acid-free paper Index of Persons Mythical and historical persons in Metamorphoses are in lowercase; ancient and modern writers and artists are in uppercase. Achaemenides, shipwrecked com- Aeetes, King of Colchis, father of panion of Ulysses rescued by Medea, 74 Aeneas, 116 Aeneas, son of Anchises and Venus, 15, Achelous, river god, host of Theseus, 96 13, 94-95, 127 deification, 99—100, 102 Achilles, son of Peleus and Thetis, Aesculapius (Asclepius), son of Apollo 55 and Coronis, healer god brought kills Cycnus, 98, 114 to Rome from Epidaurus, 101, shot by Paris, 99 102, 109 Acis, lover of Galatea Aeson, father of Jason, 89, 107 Ads and Galatea (Poussin), fig. -
Constellation Legends
Constellation Legends by Norm McCarter Naturalist and Astronomy Intern SCICON Andromeda – The Chained Lady Cassiopeia, Andromeda’s mother, boasted that she was the most beautiful woman in the world, even more beautiful than the gods. Poseidon, the brother of Zeus and the god of the seas, took great offense at this statement, for he had created the most beautiful beings ever in the form of his sea nymphs. In his anger, he created a great sea monster, Cetus (pictured as a whale) to ravage the seas and sea coast. Since Cassiopeia would not recant her claim of beauty, it was decreed that she must sacrifice her only daughter, the beautiful Andromeda, to this sea monster. So Andromeda was chained to a large rock projecting out into the sea and was left there to await the arrival of the great sea monster Cetus. As Cetus approached Andromeda, Perseus arrived (some say on the winged sandals given to him by Hermes). He had just killed the gorgon Medusa and was carrying her severed head in a special bag. When Perseus saw the beautiful maiden in distress, like a true champion he went to her aid. Facing the terrible sea monster, he drew the head of Medusa from the bag and held it so that the sea monster would see it. Immediately, the sea monster turned to stone. Perseus then freed the beautiful Andromeda and, claiming her as his bride, took her home with him as his queen to rule. Aquarius – The Water Bearer The name most often associated with the constellation Aquarius is that of Ganymede, son of Tros, King of Troy.