Christianity and Mythology
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Rothaug, Alexander
Alexander Rothaug, Die drei Parzen (The Three Fates) 1870 – Vienna - 1946 tempera on canvas, circa 1910 48 ¾ by 68 ½ inches (124 by 174 cm) signed upper left: ‘ALEXANDER’ and upper right: ‘ROTHAUG’ provenance: Private collector, Germany, acquired directly from the artist, circa 1910; and by descent in the family until 2019 exhibited: Künstlerhaus, Vienna, XXXVI Jahresausstellung, 1910, no. 358. literature: “Jahresausstellung im Künstlerhaus,” Deutsches Volksblatt, March 17, 1910, p. 9 and April 3, 1910, p. 18. “36 Jahresausstellung im Künstlerhaus,” Wiener Abnendpost, March 23, 1910, p. 3. “Jahresausstellung im Künstlerhaus,” Neues Wiener Tagblatt, March 26, 1910, p. 1. “Kunstaustellungen – Künstlerhaus,” and “Besuch des Kaisers im Künstlerhaus,” Neue Frei Presse, March 24, 1910, p. 8 and April 3, 1910, p. 9. note: Born into a family of artists, including his father, his first teacher, and his older brother, Leopold, Alexander Rothaug (fig. 1) was active as a painter, stage designer, and illustrator in both Austria and Germany. He trained first in sculpture at the Vienna Academy of Fine Arts but in 1885 switched to painting, studying especially with the orientalist painter Leopold Carl Müller. Following Müller’s death in 1892, Rothaug went to Munich working primarily as a prolific magazine illustrator and had his first public exhibitions, but most importantly during the time spent in Munich he studied the work of the popular and sensational painter Franz von Stuck (1863-1928). Following in that master’s line, Rothaug produced a great many mythological and literary subjects as well as an occasional religious one, episodes from Wagner’s Ring Cycle, and his own inventive allegories, costumes for operas, and imaginary portraits of historical figures. -
Champions of the Gods
Champions of the Gods Champions of the Gods by Warren Merrifield 1 Champions of the Gods Copyright ©2006 Warren Merrifield. This is an entry into the Iron Game Chef ‘06 competition. It uses the ingredients Ancient, Committee and Emotion, and is designed to be played in four two–hour sessions. Typeset in Garamond and Copperplate. Created with Apple Pages software on a G5 iMac. Contact me at [email protected] 2 Champions of the Gods Map of the Ancient Greek World 3 Champions of the Gods Introduction This is my Iron Game Chef ‘06 Entry. It uses the ingredients Ancient, Committee and Emotion, and is designed to be run in four two–hour sessions with between three and five participants. There is no Gamesmaster. I am no authority on Ancient Greece and its myths, so please indulge me any inaccuracies that I may have presented here. Background The Ancient Greek World, during the Age of Gods and Men: Zeus, father of all the Gods has decided that he wants a new religious festival for the Mortals to honour him. He has declared that it will be known as the “Olympics” and shall be held in the most worthy city–state in all of the Greek World — anywhere from Iberia to the Black Sea. But there are more city–states than Zeus can be bothered to remember, so to discover which is most worthy, he has chosen a number of his Godly offspring to do it for him. They will be known as the “Mount Olympus Committee”, and will report back in four mortal years, or Zeus shall rip all of Creation asunder. -
Graham Jones
Ni{ i Vizantija XIV 629 Graham Jones SEEDS OF SANCTITY: CONSTANTINE’S CITY AND CIVIC HONOURING OF HIS MOTHER HELENA Of cities and citizens in the Byzantine world, Constantinople and its people stand preeminent. A recent remark that the latter ‘strove in everything to be worthy of the Mother of God, to Whom the city was dedicated by St Constantine the Great in 330’ follows a deeply embedded pious narrative in which state and church intertwine in the city’s foundation as well as its subse- quent fortunes. Sadly, it perpetuates a flawed reading of the emperor’s place in the political and religious landscape. For a more nuanced and considered view we have only to turn to Vasiliki Limberis’ masterly account of politico-religious civic transformation from the reign of Constantine to that of Justinian. In the concluding passage of Divine Heiress: The Virgin Mary and the Creation of Christianity, Limberis reaffirms that ‘Constantinople had no strong sectarian Christian tradition. Christianity was new to the city, and it was introduced at the behest of the emperor.’ Not only did the civic ceremonies of the imperial cult remain ‘an integral part of life in the city, breaking up the monotony of everyday existence’. Hecate, Athena, Demeter and Persephone, and Isis had also enjoyed strong presences in the city, some of their duties and functions merging into those of two protector deities, Tyche Constantinopolis, tutelary guardian of the city and its fortune, and Rhea, Mother of the Gods. These two continued to be ‘deeply ingrained in the religious cultural fabric of Byzantium.. -
From Republic to Principate: Change and Continuity in Roman Coinage
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ From republic to principate change and continuity in Roman coinage Gyori, Victoria Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 This electronic theses or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Title: From republic to principate change and continuity in Roman coinage Author: Victoria Gyori The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. -
The Eternal Fire of Vesta
2016 Ian McElroy All Rights Reserved THE ETERNAL FIRE OF VESTA Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy A thesis submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Classics Written under the direction of Dr. Serena Connolly And approved by ___________________________________________ ___________________________________________ ___________________________________________ New Brunswick, New Jersey October 2016 ABSTRACT OF THE THESIS The Eternal Fire of Vesta: Roman Cultural Identity and the Legitimacy of Augustus By Ian McElroy Thesis Director: Dr. Serena Connolly Vesta and the Vestal Virgins represented the very core of Roman cultural identity, and Augustus positioned his public image beside them to augment his political legitimacy. Through analysis of material culture, historiography, and poetry that originated during the principate of Augustus, it becomes clear that each of these sources of evidence contributes to the public image projected by the leader whom Ronald Syme considered to be the first Roman emperor. The Ara Pacis Augustae and the Res Gestae Divi Augustae embody the legacy the Emperor wished to establish, and each of these cultural works contain significant references to the Vestal Virgins. The study of history Livy undertook also emphasized the pathetic plight of Rhea Silvia as she was compelled to become a Vestal. Livy and his contemporary Dionysius of Halicarnassus explored the foundation of the Vestal Order and each writer had his own explanation about how Numa founded it. The Roman poets Virgil, Horace, Ovid, and Tibullus incorporated Vesta and the Vestals into their work in a way that offers further proof of the way Augustus insinuated himself into the fabric of Roman cultural identity by associating his public image with these honored priestesses. -
STONEFLY NAMES from CLASSICAL TIMES W. E. Ricker
ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Perla Jahr/Year: 1996 Band/Volume: 14 Autor(en)/Author(s): Ricker William E. Artikel/Article: Stonefly names from classical times 37-43 STONEFLY NAMES FROM CLASSICAL TIMES W. E. Ricker Recently I amused myself by checking the stonefly names that seem to be based on the names of real or mythological persons or localities of ancient Greece and Rome. I had copies of Bulfinch’s "Age of Fable," Graves; "Greek Myths," and an "Atlas of the Ancient World," all of which have excellent indexes; also Brown’s "Composition of Scientific Words," And I have had assistance from several colleagues. It turned out that among the stonefly names in lilies’ 1966 Katalog there are not very many that appear to be classical, although I may have failed to recognize a few. There were only 25 in all, and to get even that many I had to fudge a bit. Eleven of the names had been proposed by Edward Newman, an English student of neuropteroids who published around 1840. What follows is a list of these names and associated events or legends, giving them an entomological slant whenever possible. Greek names are given in the latinized form used by Graves, for example Lycus rather than Lykos. I have not listed descriptive words like Phasganophora (sword-bearer) unless they are also proper names. Also omitted are geographical names, no matter how ancient, if they are easily recognizable today — for example caucasica or helenica. alexanderi Hanson 1941, Leuctra. -
Traces of Greco-Roman Mythology in Classical Turkish Literature: the Thread of Life / B
532 / RumeliDE Journal of Language and Literature Studies 2020.19 (June) Traces of Greco-Roman mythology in classical Turkish literature: The Thread of Life / B. Alpaydın (pp. 528-540) Traces of Greco-Roman mythology in classical Turkish literature: The Thread of Life Bilal ALPAYDIN1 APA: Alpaydın, B. (2020). Traces of Greco-Roman mythology in classical Turkish literature: The Thread of Life. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (19), 528-540. DOI: 10.29000/rumelide.752507. Abstract It is wholly acknowledged that prior to the Turks’ conquest of Anatolia, this land was inhabited by diverse cultures and civilizations. Following its conquest, however, large segments of the various populations living in Anatolia continued to reside in their native homelands, indicating that the Turks lived together with these indigenous cultures for centuries. Greeks and Romans made up only one aspect of these various cultures. Although nowhere near as pervasive as their Persian and Arab counterparts, the cultures and mythologies of both the Greeks and Romans are discernible in Turkish culture, which is only natural after having shared the same homeland for many years in Anatolia and Europe. One such example is the occasional likening of a beloved’s hair to snakes in classical Turkish literature, reminiscent of Medusa’s own snake-like hair in Greek mythology. Indeed, the poems written in Greek by Mawlānā Jalāl al-Dīn Rūmī and Ahmed Pasha demonstrate that Turkish poets were not complete strangers to Western sources. After providing information about the three Moirai sisters known as the goddesses of fate in Greek and Roman mythology, this article will move on to address how they indirectly appear in classical Turkish literature. -
The Classical Mythology of Milton's English Poems
YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor VIII THE CLASSICAL MYTHOLOGY OF Milton's English poems CHARLES GROSVENOR OSGOOD, Ph.D. NEW YORK HENRY HOLT AND COMPANY igoo Ss9a Copyright, igoo, BY CHARLES GROSVENOR OSGOOD, Ph.D. J^ 7/SS TO PROFESSQR ALBERT S. COOK AND PROFESSOR THOMAS D. SEYMOUR — PREFACE The student who diligently peruses the lines of a great poem may go far toward a realization of its char- acter. He may appreciate, in a degree, its loveliness, strength, and direct hold upon the catholic truth of life. But he will be more sensitive to these appeals, and receive gifts that are richer and less perishable, accord- ing as he comprehends the forces by whose interaction the poem was produced. These are of two kinds the innate forces of the poet's character, and certain more external forces, such as, in the case of Milton, are represented by Hellenism and Hebraism. Their activ- ity is greatest where they meet and touch, and at this point their nature and measure are most easily dis- cerned. From a contemplation of the poem in its gene- sis one returns to a deeper understanding and enjoyment of it as a completed whole. The present study, though it deals with but one of the important cultural influ- ences affecting Milton, and with it but in part, endeav- ors by this method to deepen and clarify the apprecia- tion of his art and teaching. My interest in the present work has found support and encouragement in the opinions of Mr. Churton Collins, as expressed in his valuable book. -
The “Maddening Sting” of Dionysus by Benton Kidd, Curator of Ancient Art N His Play the Bacchae, Euripides (Ca
MUSEUM FRIDAY FEATURE The “Maddening Sting” of Dionysus by Benton Kidd, Curator of Ancient Art n his play The Bacchae, Euripides (ca. 480–406 BCE) describes the people of Thebes as overwhelmed Isuddenly by the “maddening sting” of Dionysus, after the worship of the god arrives in the city. What exactly did Euripides mean by this choice of words? If we examine this unusual god in more detail, we find that he was far more than just the jolly wine deity he became to posterity. In fact the mysterious presence of Dionysus could literally drive one to madness and death, and his worship was a dangerous, double-edged sword. Ancient authors indicate that worshipers who undertook the secret mysteries of Dionysus walked a fine line between order and chaos, conformity and deviance, and sanity and insanity. Greek mythographers tell us that Zeus was the Anonymous (Italian) Dionysiac Procession, late 17th century father of Dionysus but the Ink on paper androgynous, seductive Gift of Prof. and Mrs. Saul S. Weinberg in memory of Bernard Weinberg (73.272) character of this god is curious, if not alien. Scholars debate where the god originated, whether in Greece or Asia Minor, but others suggest the source of the god’s power and enlightenment was India. Origins aside, it was the worship of this new god that brought Greeks an experience like none they had previously encountered. We should note, however, that what initiates experienced depended on where they lived, just as religions are practiced differently today, contingent on location. In Classical Athens, for example, the spring “Dionysia” festival was a relatively tame affair, which included introduction of new plays and a boozy street celebration akin to a block-party. -
A Reader in Comparative Indo-European Religion
2018 A READER IN COMPARATIVE INDO-EUROPEAN RELIGION Ranko Matasović Zagreb 2018 © This publication is intended primarily for the use of students of the University of Zagreb. It should not be copied or otherwise reproduced without a permission from the author. TABLE OF CONTENTS Abbreviations........................................................................................................................ Foreword............................................................................................................................... PART 1: Elements of the Proto-Indo-European religion...................................................... 1. Reconstruction of PIE religious vocabulary and phraseology................................... 2. Basic Religious terminology of PIE.......................................................................... 3. Elements of PIE mythology....................................................................................... PART II: A selection of texts Hittite....................................................................................................................................... Vedic........................................................................................................................................ Iranian....................................................................................................................................... Greek....................................................................................................................................... -
Celtic Elements in Northwestern Spain in Pre-Roman Times," E-Keltoi: Journal of Interdisciplinary Celtic Studies: Vol
e-Keltoi: Journal of Interdisciplinary Celtic Studies Volume 6 The Celts in the Iberian Peninsula Article 10 8-10-2005 Celtic Elements in Northwestern Spain in Pre- Roman times Marco V. Garcia Quintela Laboratorio de Patrimonio, Paleoambiente y Paisaje, Instituto de Investigacións Tecnolóxicas, Universidade de Santiago de Compostela, associated unit of the Instituto de Estudios Gallegos Padre Sarmiento, Centro Superior de Investigaciones Científicas, Xunta de Galicia Follow this and additional works at: https://dc.uwm.edu/ekeltoi Recommended Citation Quintela, Marco V. Garcia (2005) "Celtic Elements in Northwestern Spain in Pre-Roman times," e-Keltoi: Journal of Interdisciplinary Celtic Studies: Vol. 6 , Article 10. Available at: https://dc.uwm.edu/ekeltoi/vol6/iss1/10 This Article is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in e-Keltoi: Journal of Interdisciplinary Celtic Studies by an authorized administrator of UWM Digital Commons. For more information, please contact open- [email protected]. Celtic Elements in Northwestern Spain in Pre-Roman times Marco V. García Quintela Laboratorio de Patrimonio, Paleoambiente y Paisaje, Instituto de Investigacións Tecnolóxicas, Universidade de Santiago de Compostela, associated unit of the Instituto de Estudios Gallegos Padre Sarmiento, Centro Superior de Investigaciones Científicas, Xunta de Galicia Abstract The aim of this article is to present a synthetic overview of the state of knowledge regarding the Celtic cultures in the northwestern Iberian Peninsula. It reviews the difficulties linked to the fact that linguists and archaeologists do not agree on this subject, and that the hegemonic view rejects the possibility that these populations can be considered Celtic. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 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 permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield.