Llt 121 Classical Mythology Lecture 26 Good Morning
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Runaway Puppet Theater
Thanks for downloading the lesson plans for our production The Myth-Adventures of Theseus. Why are the arts important? The arts are intrinsic to our lives, but often arts education is an after-thought or considered non- essential. However the arts are how we define ourselves and put our lives and times in context. For example, think of the 1930's, the 1950's and the 1970's. When you think of these decades, what are the first things that come to mind? The fashion? The music? The design of the automobiles? Guess what? All of these things are "the arts!" Sure, you may have thought of who was President, and maybe a few world events came to mind, but you probably first put those decades into context by the various artistic forms that were prevalent at the time. Why is Greek mythology important? Much of our Western culture and thought comes from ancient Greece. Even today our ideas about government, architecture, arts and literature, and our language have been shaped by ancient Greek culture. One of the most enduring parts of the ancient Greek culture is their mythology. In fact, our English word "myth" comes from the Greek word "mythos" which means "a spoken story, legend, or tale." A culture's mythology tells us what the culture finds most important, what behaviors it values, and how it explains natural phenomenon. They also served as morality plays, illustrating the consequences of both good and bad behavior. Since a people's myths are often about what is most important to them, a study of Greek mythology can give us insight into what the Greek people valued. -
Nemesis Free
FREE NEMESIS PDF Jo Nesbo | 501 pages | 28 Feb 2012 | HarperCollins Publishers Inc | 9780062119698 | English | New York, NY, United States Nemesis | Definition of Nemesis by Merriam-Webster The difference Nemesis these two words may be subtle Nemesis Third Reich met its nemesis as much here as Nemesis had—albeit in Nemesis greater numbers—at Stalingrad. Neither her Nemesis nor her Nemesis are Nemesis the slurred words I can make out. The nemesis that emerges most potently is that of reality TV. So watching him get abruptly fired in order to prove a point to nemesis Liz Lemon was heartbreaking. Roth's sentences are so good, from Goodbye, Columbus to Nemesisbut the force and beauty of his late work merits special praise. I suppose it is a sort of nemesis Nemesis wit; the skidding of a wheel in the Nemesis of its speed. He had not been made soft by the nemesis that laid him by the heels. If that mechanic had read the Greek tragedians he would have known that Nemesis must Nemesis come soon. And if we ever feel that we Nemesis unjustly—well, Nemesisthe slow but the sure, will make it up to us in the end. Thus equipped, the Nemesis proceeded on her voyage, and was found to derive great assistance from this new contrivance. In Nemesis mythologythe Greek goddess of vengeance. See how many words from the week of Oct 12—18, you get right! Words nearby nemesis Nemean GamesNemean lionNemerovnemerteannemesia Nemesis, nemesisnemine contradicentenemine dissentienteNemesisnemo me impune lacessitnemophila. Cardi B. And, of course, Nemesis goings on in Washington D. -
Myth Made Fact Lesson 8: Jason with Dr
Myth Made Fact Lesson 8: Jason with Dr. Louis Markos Outline: Jason Jason was a foundling, who was a royal child who grew up as a peasant. Jason was son of Eason. Eason was king until Pelias threw him into exile, also sending Jason away. When he came of age he decided to go to fulfill his destiny. On his way to the palace he helped an old man cross a river. When Jason arrived he came with only one sandal, as the other had been ripped off in the river. Pelias had been warned, “Beware the man with one sandal.” Pelias challenges Jason to go and bring back the Golden Fleece. About a generation or so earlier there had been a cruel king who tried to gain favor with the gods by sacrificing a boy and a girl. o Before he could do it, the gods sent a rescue mission. They sent a golden ram with a golden fleece that could fly. The ram flew Phrixos and Helle away. o The ram came to Colchis, in the southeast corner of the Black Sea. Helle slipped and fell and drowned in the Hellespont, which means Helle’s bridge (between Europe and Asia). o Phrixos sacrificed the ram and gave the fleece as a gift to the people of Colchis, to King Aeetes. o The Golden Fleece gives King Aeetes power. Jason builds the Argo. The Argonauts are the sailors of the Argo. Jason and the Argonauts go on the journey to get the Golden Fleece. Many of the Argonauts are the fathers of the soldiers of the Trojan War. -
Female Familial Relationships in Valerius' Argonautica and Statius
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2021 Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid Sophia Warnement Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Classical Literature and Philology Commons Recommended Citation Warnement, Sophia, "Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid" (2021). Undergraduate Honors Theses. Paper 1619. https://scholarworks.wm.edu/honorstheses/1619 This Honors Thesis -- Open Access is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Department of Classical Studies from The College of William and Mary by Sophia Irene Warnement Accepted for ______Honors___________________________ (Honors, Highest Honors) __Vassiliki Panoussi___________________ Vassiliki Panoussi, Director __Molly Swetnam-Burland____________ Molly Swetnam-Burland __Jennifer Gülly___ ____________________ Jennifer Gülly Williamsburg, VA May 07, 2021 Table of Contents ACKNOWLEDGMENTS .......................................................................................................................................... -
ON the ORACLE GIVEN to AEGEUS (Eur
ON THE ORACLE GIVEN TO AEGEUS (Eur. Med. 679, 681) Aegeus, according to Euripides the childless king of Athens, consulted the oracle at Delphi on the matter of his childlessness, and was given a puzzling answer. He decided, therefore, to seek an explanation from Pittheus/ king of Troezen, who had the reputation of being a prophetic expert and a wise interpreter. On his way from Delphi to Troezen Aegeus passes through Corinth,1 meets with Medea, and repeats to her the Pythia’s advice: ἀσκοΰ με τὸν προυχοντα μὴ λῦσαι πόδα ... (679) πρὶν ἄν πατρῷαν αΰθις ἐστίαν μόλω. (681) Ί am not to loosen the hanging foot of the wineskin ... until I return again to the hearth of my fathers.’ Medea does not attempt to interpret the oracle, but offers instead to cure Aegeus’ childlessness with drugs when she arrives at his court, and the Athenian king having promised to grant her asylum proceeds to Troezen and to the begetting of Theseus. Ἀ hexametric version of the oracle, which somewhat differs from that of Euripides, appears in Apollod. Bibl. 3, 15, 6 (and in Plut. Thes. 3, 5): ἀσκοΰ τὸν προυχοντα πόδα, μεγα, φερτατε λαῶν, μὴ λυσῃς πρὶν ἐς ἄκρον Ά·θηναίων ἀφίκηνοα. ‘The bulging mouth of the wineskin, Ο best of men, loose not until thou hast reached the height of Athens.’2 1 Cf. T.B.L. Webster, The Tragedies of Euripides (London 1967) 54: ‘It is reasonable that he should pass through Corinth on his way from Delphi to Troezen,’ but cf. Α. Rivier, Essai sur le tragique dEuripide (Lausanne 1944) 55, and the literature cited by him. -
Ode to Nitrous Oxide Is It Only the Memory of Being Ten and Being
Ode to Nitrous Oxide Coleridge said that nitrous oxide—laughing gas— provided “the most unmingled pleasure” he ever knew. Is it only the memory of being ten and being driven to Manhattan to see the “dintist,” as the elevator man called him—the one time I can recall being in a building with an elevator—that invokes you? Or is it the pain I feared then or the pain I flee from now— tooth pain, the whirring drill, or the agonizing ache of hearing my husband just having had a housewarming party with another woman in another apartment—the one I don’t have the keys to? Is it about laughing over the pain or about Gonna take you higher, as Sly said in the Sixties when I thought I was too young to smoke yet there I was snorting that sweet stuff up in the dentist’s chair on what must have been the Upper East Side—this Brooklyn girl from East Flatbush—and loving it. It felt like soft rubber wrapping around my face around as the dentist drilled around & around drilled & wiggled his nose & whiskers like a human bunny rabbit. Here I am now, forty years later, asking for it in another East Side building where my name is announced. Asking to be put out of my pain—to feel the numbness flower down my arms into my pelvis. Isn’t it funny how good numb can feel? Is that the experience? Or is it waking up after—lucid but no longer asking (or caring) where it throbs—or when—or why—or because of whom. -
Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world. -
Chaos in the Old World Free
FREE CHAOS IN THE OLD WORLD PDF Fantasy Flight Games | none | 01 Jan 2015 | Fantasy Flight Games | 9781589946514 | English | United States Old Chaos | Dark Souls 2 Wiki Chaos in the Old World makes you a god. Yet, as you and your fellow powers of Chaos seek domination by corruption and conquest, you must vie Chaos in the Old World only against each other, but also against the desperate denizens of the Old World Chaos in the Old World fight to banish you back to the maelstrom of the Realm of Chaos. Chaos in the Old World features three ways to win, and gives you an unparalleled opportunity to reshape the world in your image. Every turn you corrupt the landscape, dominating its inhabitants, and battle with the depraved followers of rival gods. Each god has a unique deck of gifts and abilities, and can upgrade their followers into deadly foes. Summon forth living manifestations of Chaos, debased and hidden cultists, and the horrifying greater daemons - beings capable of destroying near everything in their path. Sign In Don't have an account? Start a Wiki. Chaos in the Old World is a board game for players set in the Warhammer Fantasy setting. Khorne, the Blood God, the Skulltaker, lusts for death and battle. Nurgle, the Plaguelord, the Father of Corruption, luxuriates in filth Chaos in the Old World disease. Tzeentch, the Changer of Ways, the Great Conspirator, plots the fate of the universe. Slaanesh, the Prince of Pleasure and Pain, the Lord of Temptations, lures even the most steadfast to his six deadly seductions. -
Free Script Sample
DANCING WITH THE OLYMPIANS By Lavinia Roberts Copyright © 2011 by Lavinia Roberts, All rights reserved. ISBN: 1-60003-590-6 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Brooklyn Publishers, LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers, LLC. Questions concerning other rights should be addressed to Brooklyn Publishers, LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers, LLC. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
Phèdre: a Primer
Phèdre: A Primer Prepared by Spencer Smith, Dramaturge and Fourth year DART student Virginia Reh, Director and DART Assistant Professor and David Vivian, Scenographer and Associate Professor, editors. Table of Contents 1) Collaboration 2) Play Synopsis 3) Director’s Notes 4) Scenographer’s Notes 5) The Playwright: Jean-Baptiste Racine 6) The Translator: Ted Hughes 7) Family Tree 8) The Myths: Theseus, Phaedra, and Hippolytus 9) The Labyrinth of Lexicon: People and Places 10) The Many Faces of Phaedra 11) Dramaturge’s Notes 12) List of Figures 13) Bibliography Phèdre: A Primer Department of Dramatic Arts Page 2 of 17 Marilyn I. Walker School of Fine and Performing Arts February 2011 I saw the plot unfolding and me in it, Where we touched like cripples. Your first scene. The surreal mystery of our picnic quarrel Opened your performance quietly. And you had opened the vein. And recognised gold. A cry of bereavement. You had picked up the skein of blood That twitched and led you, ignoring me. Not out of the labyrinth But to the very centre, Where the Minotaur, which was waiting to kill you, Killed you. – Ted Hughes, “The Minotaur 2”i Phèdre: A Primer Department of Dramatic Arts Page 3 of 17 Marilyn I. Walker School of Fine and Performing Arts February 2011 1) Collaboration Written by Jean-Baptiste Racine Translation by Ted Hughes A production of the Department of Dramatic Arts of the Marilyn I. Walker School of Fine and Performing Arts, Brock University February 17, 18, 19, 2011 at 7:30pm; February 18 at 1:00pm. -
Greek Religious Thought from Homer to the Age of Alexander
'The Library of Greek Thought GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER Edited by ERNEST BARKER, M.A., D.Litt., LL.D. Principal of King's College, University of London tl<s } prop Lt=. GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER BY F. M. CORNFORD, M.A. Fellow and Lecturer of Trinity College, Cambridge MCMXXIII LONDON AND TORONTO J. M. DENT & SONS LTD. NEW YORK: E. P. DUTTON tf CO. HOTTO (E f- k> ) loUr\ P. DOTTO/U TALKS ) f^op Lt=. 7 yt All rights reserved f PRINTED IN GREAT BRITAIN TO WALTER DE LA MARE INTRODUCTION The purpose of this book is to let the English reader see for himself what the Greeks, from Homer to Aristotle, thought about the world, the gods and their relations to man, the nature and destiny of the soul, and the significance of human life. The form of presentation is prescribed by the plan of the series. The book is to be a compilation of extracts from the Greek authors, selected, so far as possible, without prejudice and translated with such honesty as a translation may have. This plan has the merit of isolating the actual thought of the Greeks in this period from all the constructions put upon it by later ages, except in so far as the choice of extracts must be governed by some scheme in the compiler's mind, which is itself determined by the limits of his knowledge and by other personal factors. In the book itself it is clearly his business to reduce the influence of these factors to the lowest point; but in the introduction it is no less his business to forewarn the reader against some of the consequences.