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Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article. -
Battery Charger Instructions CHG EZ1 001- BU 36V CHG UNV 123 - BU 36V CHG EZ2 002 - BU 36V CHG CC2 001 - BU 48V CHG YA4 003 - BU48V
Battery Charger Instructions CHG EZ1 001- BU 36V CHG UNV 123 - BU 36V CHG EZ2 002 - BU 36V CHG CC2 001 - BU 48V CHG YA4 003 - BU48V The chargers are designed for 36 and or 48 volt carts and care must be taken to ensure the correct voltage is used per application. Each charger uses an electrical plug designed to fi t the cart half. Again, make sure the cart half aligns correctly with the charger plug. 36 volt chargers are 115 VAC @ 12.0A (MAX) 60 HZ output: 25A @ 36 VDC For use with lead-acid batteries rated at 180 to 260 Ampere-Hours (20 AH Rating) 18 Cell 48 volt chargers are 115 VAC @ 12.0A (MAX) 60 HZ output: 18A @ 48 VDC For use with lead-acid batteries rated at 180 to 260 Ampere-Hours (20 AH Rating) 24 Cell Overview: The Eagle Series Battery Charging Systems utilize advanced micro controller technology to monitor all parameters of the charger while it is operating. These units are powered by a highly effi cient proprietary transformer design that allows the units to be lighter, smalle r, quieter and run much cooler than older ferro resonant designs. By utilizing SCR control technology with the latest control circuitry a precise charge cu r- rent is controlled. Precise control over output current allows the charger to constantly adjust and adapt to various factors such as battery capacity, battery state of charge, internal and external air temperature and AC line input. Unlike ferro resonant chargers, the Eagle Series is able to begin charging batteries at very low voltages. -
In Re: Exodus Communications Inc. Securities Litigation 01-CV-2661
Case 3:01-cv-02661-MMC Document 306 Filed 04/24/2006 Page 1 of 3 1 DAVID M. FURBUSH (State Bar No. 83447) DHAIVAT H. SHAH (State Bar No. 196382) 2 ROBERTA L. HARTING (State Bar No. 225067) O’MELVENY & MYERS LLP 3 2765 Sand Hill Road Menlo Park, California 94025 4 Telephone: (650) 473-2600 Facsimile: (650) 473-2601 5 E-Mail: [email protected] [email protected] 6 [email protected] 7 Attorneys for Defendant ELLEN M. HANCOCK 8 9 UNITED STATES DISTRICT COURT 10 NORTHERN DISTRICT OF CALIFORNIA 11 12 In re Master File No. C-01-2661-MMC 13 EXODUS COMMUNICATIONS, INC. DEFENDANT ELLEN HANCOCK’S SECURITIES LITIGATION REQUEST FOR JUDICIAL NOTICE 14 Honorable Maxine M. Chesney 15 Hearing Date: May 5, 2006 16 Time: 9:00 a.m. This Document Relates To: 17 ALL ACTIONS. 18 19 20 21 22 23 24 25 26 27 28 DEFENDANT HANCOCK’S REQUEST FOR JUDICIAL NOTICE - C-01-2661-MC Case 3:01-cv-02661-MMC Document 306 Filed 04/24/2006 Page 2 of 3 1 Pursuant to Federal Rule of Evidence 201, defendant Ellen M. Hancock respectfully 2 requests that this Court take judicial notice of each of the following documents, true and correct 3 copies of which are attached as Exhibits A through D hereto: 4 A. “First Amended Consolidated Class Action Complaint,” In re Exodus, Inc. 5 Securities Litigation, Master File No. C-01-2661-MMC, filed on July 11, 2002 in the United 6 States District Court for the Northern District of California. -
LOST "Raised by Another" (YELLOW) 9/23/04
LOST “Raised by Another” CAST LIST BOONE................................Ian Somerhalder CHARLIE..............................Dominic Monaghan CLAIRE...............................Emilie de Ravin HURLEY...............................Jorge Garcia JACK.................................Matthew Fox JIN..................................Daniel Dae Kim KATE.................................Evangeline Lilly LOCKE................................Terry O’Quinn MICHAEL..............................Harold Perrineau SAWYER...............................Josh Holloway SAYID................................Naveen Andrews SHANNON..............................Maggie Grace SUN..................................Yunjin Kim WALT.................................Malcolm David Kelley THOMAS............................... RACHEL............................... MALKIN............................... ETHAN................................ SLAVITT.............................. ARLENE............................... SCOTT................................ * STEVE................................ * www.pressexecute.com LOST "Raised by Another" (YELLOW) 9/23/04 LOST “Raised by Another” SET LIST INTERIORS THE VALLEY - Late Afternoon/Sunset CLAIRE’S CUBBY - Night/Dusk/Day ENTRANCE * ROCK WALL - Dusk/Night/Day * INFIRMARY CAVE - Morning JACK’S CAVE - Night * LOFT - Day - FLASHBACK MALKIN’S HOUSE - Day - FLASHBACK BEDROOM - Night - FLASHBACK LAW OFFICES CONFERENCE ROOM - Day - FLASHBACK EXTERIORS JUNGLE - Night/Day ELSEWHERE - Day CLEARING - Day BEACH - Day OPEN JUNGLE - Morning * SAWYER’S -
(Eponymous) Heroes
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot. -
The Expression of Orientations in Time and Space With
The Expression of Orientations in Time and Space with Flashbacks and Flash-forwards in the Series "Lost" Promotor: Auteur: Prof. Dr. S. Slembrouck Olga Berendeeva Master in de Taal- en Letterkunde Afstudeerrichting: Master Engels Academiejaar 2008-2009 2e examenperiode For My Parents Who are so far But always so close to me Мои родителям, Которые так далеко, Но всегда рядом ii Acknowledgments First of all, I would like to thank Professor Dr. Stefaan Slembrouck for his interest in my work. I am grateful for all the encouragement, help and ideas he gave me throughout the writing. He was the one who helped me to figure out the subject of my work which I am especially thankful for as it has been such a pleasure working on it! Secondly, I want to thank my boyfriend Patrick who shared enthusiasm for my subject, inspired me, and always encouraged me to keep up even when my mood was down. Also my friend Sarah who gave me a feedback on my thesis was a very big help and I am grateful. A special thank you goes to my parents who always believed in me and supported me. Thanks to all the teachers and professors who provided me with the necessary baggage of knowledge which I will now proudly carry through life. iii Foreword In my previous research paper I wrote about film discourse, thus, this time I wanted to continue with it but have something new, some kind of challenge which would interest me. After a conversation with my thesis guide, Professor Slembrouck, we decided to stick on to film discourse but to expand it. -
A HISTORY of the PELASGIAN THEORY. FEW Peoples Of
A HISTORY OF THE PELASGIAN THEORY. FEW peoples of the ancient world have given rise to so much controversy as the Pelasgians; and of few, after some centuries of discussion, is so little clearly established. Like the Phoenicians, the Celts, and of recent years the Teutons, they have been a peg upon which to hang all sorts of speculation ; and whenever an inconvenient circumstance has deranged the symmetry of a theory, it has been safe to ' call it Pelasgian and pass on.' One main reason for this ill-repute, into which the Pelasgian name has fallen, has been the very uncritical fashion in which the ancient statements about the Pelasgians have commonly been mishandled. It has been the custom to treat passages from Homer, from Herodotus, from Ephorus, and from Pausanias, as if they were so many interchangeable bricks to build up the speculative edifice; as if it needed no proof that genealogies found sum- marized in Pausanias or Apollodorus ' were taken by them from poems of the same class with the Theogony, or from ancient treatises, or from prevalent opinions ;' as if, further, ' if we find them mentioning the Pelasgian nation, they do at all events belong to an age when that name and people had nothing of the mystery which they bore to the eyes of the later Greeks, for instance of Strabo;' and as though (in the same passage) a statement of Stephanus of Byzantium about Pelasgians in Italy ' were evidence to the same effect, perfectly unexceptionable and as strictly historical as the case will admit of 1 No one doubts, of course, either that popular tradition may transmit, or that late writers may transcribe, statements which come from very early, and even from contemporary sources. -
Actors on High: the Skene Roof, the Crane, and the Gods in Attic Drama
UC Berkeley Classical Papers Title Actors on High: The Skene Roof, the Crane, and the Gods in Attic Drama Permalink https://escholarship.org/uc/item/61w4628m Author Mastronarde, Donald J. Publication Date 1990-10-01 eScholarship.org Powered by the California Digital Library University of California Published as “Actors on High: The Skene Roof, the Crane, and the Gods in Attic Drama” in Classical Antiquity Volume 9, No. 2, October 1990, pages 247-294, ©1990 by The Regents of the University of California. Copying and Permissions notice: Authorization to copy this content beyond fair use (as specified in Sections 107 and 108 of the U. S. Copyright Law) for internal or personal use, or the internal or personal use of specific clients, is granted by the Regents of the University of California for libraries and other users, provided that they are registered with and pay the specified fee via Rightslink® on Caliber (http://caliber.ucpress.net/) or directly with the Copyright Clearance Center, http://www.copyright.com. [247]DONALD J. MASTRONARDE ACTORS ON HIGH: THE SKENE ROOF, THE CRANE, AND THE GODS IN ATTIC DRAMA* Many recent studies of Greek tragedy and comedy have shown a special interest in staging, not only with a view to antiquarian accuracy, but also in order to assess the playwrights’ techniques and skills in manipulating the visual elements of the performance for dramatic effect.1 The present study addresses a particularly controversial aspect of staging, the appearance of actors “on high.” It is generally agreed that the crane was available in the late fifth century, and it is also widely assumed that the wooden skene building of the late fifth and early fourth centuries had a flat roof, at least a part of which could serve as an additional acting space. -
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. -
Adopt a Resolution Approving the Amended and Restated Bylaws and Rules of Procedure
CITY / SA / HA / FA MEETING DATE: April 15, 2014 AGENDA CATEGORY: ITEM TITLE: ADOPT RESOLUTION AMENDING AND BUSINESS SESSION: RESTATING BYLAWS AND RULES OF PROCEDURE CONSENT CALENDAR: STUDY SESSION: PUBLIC HEARING: RECOMMENDED ACTION: Adopt a resolution approving the Amended and Restated Bylaws and Rules of Procedure. EXECUTIVE SUMMARY: ____________________: Due to changes in law, policy, and/or practice, amendments_____ to the Rules of Procedure (“Rules”) are necessary from time-to-time. At the January 21, 2014 Council meeting, Council formed an Ad Hoc Committee consisting of Councilmembers Evans and Franklin to review the Rules. A thorough examination of all sections of the Rules was undertaken to incorporate changes in State law, improvements in technology, increased emphasis on transparency, and evolved practices. The Council Rules will now be the master document containing all matters common to every City government body. The Housing Authority, Financing Authority, and Successor Agency Rules are consistent with each other and contain only the provisions specific to that government body. FISCAL IMPACT: Financing Authority and Successor Agency Members serve without pay, but Housing Authority Members are entitled to $50 per meeting. The anticipated savings due to the reduction of regular Housing Authority meetings from monthly to quarterly is $1,600 in salaries (Councilmember Henderson waives pay for these meetings.) Savings of paper, equipment wear and tear, and staff time will also result from the reduction in agenda packet production. BACKGROUND/ANALYSIS: With the exception of sections discussed below, all changes to the Rules reflect current practice, recently enacted State law, or accomplish the goals of logical organization and consistency. -
City Council Policies Review REPORT BY
CITY OF ALBANY CITY COUNCIL AGENDA STAFF REPORT Agenda Date: February 1, 2021 SUBJECT: City Council Policies Review REPORT BY: Anne Hsu, City Clerk Nicole Almaguer, City Manager STAFF RECOMMENDATION That the Council identify any necessary changes to the City Council Policy Manual (formerly the City Council Rules of Procedure and Order and City Council Policies). BACKGROUND/DISCUSSION The City Council Policy Manual (formerly the Rules of Procedure and Order and City Council Policies) was established by resolution of the City Council to define rules of order and policies regarding the administration of City Council meetings, duties of the Mayor, meeting decorum, agenda preparation and related subjects. In addition, the Council has established several policies to further define City Council administration and citywide policy matters. The title of the document has been updated to “City Council Policy Manual” and the document has been reviewed by staff to make necessary grammatical corrections, as well as the City Attorney to ensure compliance with relative regulatory updates. It is recommended that the Council conduct a review of the Policy Manual on an annual basis. Some recent items raised by the Council and/or members of the community include: the City Council Reorganization Policy for selection of Mayor and Vice Mayor, the term of appointments to Regional Bodies by the City Council, the Pledge of Allegiance on the City Council agenda, the reordering of agenda sections on the City Council agenda. An updated City Council meeting agenda template has been provided for City Council consideration (Attachment 2). NEXT STEPS Pending direction from the Council, staff will incorporate any identified changes to the City Council Policy Manual and present the updated material as part of a City Council Resolution at an upcoming City Council meeting. -
Illinois Classical Studies
23 Later Euripidean Music ERIC CSAPO In memory of Desmond Conacher, a much-loved teacher, colleague, andfriend. I. The Scholarship In the last two decades of the twentieth century several important general books marked a resurgence of interest in Greek music: Barker 1984 and 1989, Comotti 1989a (an expanded English translation of a work in Italian written in 1979), M. L. West 1992, W. D. Anderson 1994, Neubecker 1994 (second edition of a work of 1977), and Landels 1999. These volumes provide good general guides to the subject, with particular strengths in ancient theory and practice, the history of musical genres, technical innovations, the reconstruction and use of ancient instruments, ancient musical notation, documents, metrics, and reconstructions of ancient scales, modes, and genera. They are too broadly focussed to give much attention to tragedy. Euripidean music receives no more than three pages in any of these works (a little more is usually allocated to specific discussion of the musical fragment of Orestes). Fewer books were devoted to music in drama. Even stretching back another decade, we have: one general book on tragic music, Pintacuda 1978, two books by Scott on "musical design" in Aeschylus (1984) and in Sophocles (1996), and two books devoted to Aristophanes' music, Pintacuda 1982 and L. P. E. Parker 1997. Pintacuda 1978 offers three chapters on basic background, and one chapter for each of the poets. The chapter on Euripides (shared with a fairly standard account of the New Musicians), contains less than four pages of general discussion of Euripides' relationship to the New Music (164-68), which is followed by fifty pages of blow-by-blow description of the musical numbers in each play—a mildly caffeinated catalogue-style already familiar from Webster 1970b: 110-92 and revisited by Scott.