North Central High School 2020 Summer Reading Assignment This Summer, You Will Read and Study Greek Mythology from Edith Hamilt

Total Page：16

File Type：pdf, Size：1020Kb

North Central High School 2020 Summer Reading Assignment This summer, you will read and study Greek mythology from Edith Hamilton’s Mythology: Timeless Tales of Gods and Heroes. Because we will use this book throughout the school year in English 9X, you must purchase a copy of it. Be sure to bring both your book and completed chart with you on the first day of school in August. This assignment is a requirement for all students enrolled in 9X. Reading Assignment: Read the following selections from Mythology. Requirements for the notes are listed immediately following the reading assignment. Part One: The Gods • Chapter 1: The Gods • Chapter 2: The Two Great Gods of Earth Expectations: • Use the chart provided. Specific instructions are detailed with each part of the reading. Use this chart to record important information from Edith Hamilton’s Mythology, Part One: The Gods. Use bullet points in the chart. PANTHEON OF ROMAN DOMAIN OR DUTY SYMBOLS OTHER OBSERVATIONS GODS NAMES (ANIMALS, WEAPONS) ZEUS HERA POSEIDON HADES ATHENA APOLLO ARTEMIS PANTHEON OF ROMAN DOMAIN OR DUTY SYMBOLS OTHER OBSERVATIONS GODS NAMES (ANIMALS, WEAPONS) APHRODITE HERMES ARES HEPHAESTUS HESTIA Next, Hamilton discusses the lesser gods. Choose one of the following note- taking strategies for each of the characters: Strategy #1: traditional notes Strategy #2: sketch or draw a diagram Strategy #3: make connections to modern literary characters or pop culture Strategy #4: write two discussion questions Eros Muses Proteus Naiads Cerberus THE FURIES/ERINYES PAN AEOLUS THE GORGONS SIRENS THE FATES/MOIRAE .

Copy Link

Recommended publications

The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10.
[Show full text]
Myths and Legends: Odysseus and His Odyssey, the Short Version by Caroline H
Myths and Legends: Odysseus and his odyssey, the short version By Caroline H. Harding and Samuel B. Harding, adapted by Newsela staff on 01.10.17 Word Count 1,415 Level 1030L Escaping from the island of the Cyclopes — one-eyed, ill-tempered giants — the hero Odysseus calls back to the shore, taunting the Cyclops Polyphemus, who heaves a boulder at the ship. Painting by Arnold Böcklin in 1896. SECOND: A drawing of a cyclops, courtesy of CSA Images/B&W Engrave Ink Collection and Getty Images. Greek mythology began thousands of years ago because there was a need to explain natural events, disasters, and events in history. Myths were created about gods and goddesses who had supernatural powers, human feelings and looked human. These ideas were passed down in beliefs and stories. The following stories are about Odysseus, the son of the king of the Greek island of Ithaca and a hero, who was described to be as wise as Zeus, king of the gods. For 10 years, the Greek army battled the Trojans in the walled city of Troy, but could not get over, under or through the walls that protected it. Finally, Odysseus came up with the idea of a large hollow, wooden horse, that would be filled with Greek soldiers. The people of Troy woke one morning and found that no army surrounded the city, so they thought the enemy had returned to their ships and were finally sailing back to Greece. A great horse had been left This article is available at 5 reading levels at https://newsela.com.
[Show full text]
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.
[Show full text]
What Is Greek About Greek Mythology?
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 4 | 1991 Varia What is Greek about Greek Mythology? David Konstan Electronic version URL: http://journals.openedition.org/kernos/280 DOI: 10.4000/kernos.280 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1991 Number of pages: 11-30 ISSN: 0776-3824 Electronic reference David Konstan, « What is Greek about Greek Mythology? », Kernos [Online], 4 | 1991, Online since 11 March 2011, connection on 01 May 2019. URL : http://journals.openedition.org/kernos/280 ; DOI : 10.4000/kernos.280 Kernos Kernos, 4 (1991), p. 11-30. WHAT IS GREEK ABOUT GREEK MYTHOLOGY? The paper that follows began as a lecture, in which 1 attempted to set out for a group of college teachers what was specifie to Greek mythology, as opposed to the mythologies of other peoples1. Of course, there is no single trait that is unique to Greek myths. But there are several characteristics of Greek mythology that are, despite the intense attention it has received for decades and even centuries, still not commonly noticed in the scholarly literature, and which, taken together, contribute to its particular nature. By the device of contrasting with Greek myths a single narrative from a very different society, 1 thought that 1 might set in relief certain features that have by and large been overlooked, in part precisely because they are so familiar as to seem perfectly natural. My survey of the characteristics of Greek mythology, needless to say, makes no pretense to being exhaustive.
[Show full text]
The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.
[Show full text]
Use This Chart to Record Important Information from Edith Hamilton's Mythology, Part One: the Gods, Stop After Hestia. Please
Indianapolis Classical Schools English 9 2019 Summer Reading Assignment If you have any questions, please contact Emily Bell ([email protected]) This summer, you will read and study Greek mythology from Edith Hamilton’s Mythology: Timeless Tales of Gods and Heroes. We will use this book throughout the first semester in English 9; therefore, you must purchase a copy of it. Be sure to bring both your book and completed chart with you on the first day of school in August. This assignment is a requirement for all students enrolled in English 9. Please visit www.myhaikuclass.com/embell/english9 for a digital copy of the notes below and to learn more about English 9! Reading Assignment: Read the following selections from Mythology. Requirements for the notes are listed immediately following the reading assignment. Reading: Part 1: The Gods ● Chapter 1: The Gods ● Chapter 2: The Two Great Gods of Earth Notes: Take notes on the graphic organizer provided on subsequent pages ● Complete all portions of the notes. You may use bullet points to organize facts. Some gods do not have Roman names or symbols; you may leave those boxes blank if the information is not provided by the text. ● You will be asked to use these notes on a quiz the first day of school. Please come prepared with your notes and book! Use this chart to record important information from Edith Hamilton’s Mythology, Part One: The Gods, stop after Hestia. Please bullet point your notes in the chart. PANTHEON OF ROMAN NAMES DOMAIN OR DUTY SYMBOLS PERSONALITY TRAITS/ OTHER GODS (ANIMALS, OBSERVATIONS WEAPONS) ZEUS HERA POSEIDON HADES ATHENA APOLLO ARTEMIS APHRODITE HERMES ARES HEPHAESTUS HESTIA Next, Hamilton discusses the lesser gods.
[Show full text]
UCLA Previously Published Works
UCLA UCLA Previously Published Works Title Wind and time in Homeric epic Permalink https://escholarship.org/uc/item/5jw3f9k6 Journal Transactions of the American Philological Association, 140(2) ISSN 0360-5949 Author Purves, AC Publication Date 2010-09-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Transactions of the American Philological Association 140 (2010) 323–350 Wind and Time in Homeric Epic* alex c. purves University of California, Los Angeles summary: This paper examines the relationship between wind, narrative, and time in Homer. It begins by considering Fränkel’s observation that weather rarely occurs outside the similes in the Iliad, and goes on to show that wind plays a subtle but fundamental role in shaping the narratives of both the Iliad and the Odyssey. “in the iliad, there are no seasons, and there is hardly any weather ... [Homer] causes storms, rain, and snow almost exclusively in the simile,” wrote Hermann Fränkel in 1921.1 But what does it mean to think of the plain at Troy as a weatherless space? How are we to read it alongside the storm-tossed and wind-swept landscapes of the similes? If wind occurs almost only in the similes of the Iliad, should we then posit some formal or temporal connec- tion between description and the weather? To answer yes, on the grounds that the simile, like the weather, belongs to the everyday, to the descriptive, to the “background effects” of heroic action, is perhaps partially correct, but it also underplays the significance of both elements in the poem.
[Show full text]
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).
[Show full text]
Lecture 38 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 38 Good morning and welcome to LLT121 Classical Mythology. I’m Joe Hughes. In today’s class, we’re going to be talking about the Odyssey of Homer. When I’m done talking about the Odyssey of Homer we will be done with today’s class. We will be done with instruction for the semester. Let me go on record as saying that it has been a pleasure to teach each and every one of you and I hope to see you again in future classes during your sojourn here at Southwest Missouri State University. That goes for all of you who are watching this on television, too. That was the fun opening. Good morning and welcome to LLT121 Classical Mythology. You see, Matt is working on an outtakes reel here. I’m going to have to buy it from him at the end of the semester. He hasn’t told me how much it’s going to cost. So I will be holding office hours immediately after class for you students who care to, you know, bring me presents and stuff like that. It’s for a good cause. When last we left off, Odysseus had washed up on the shore of an uncharted desert island named Phaeacia. You’ll remember Phaeacia. It is actually the land of the Phaeacians. It’s name is Scheria. I don’t care about Scheria. That is the name of the island. The people who live there are Phaeacians. That, I do care about. They have just wined and dined Odysseus. At the end of the dinner, after he had eaten the food and drank all sorts of wine, listened to the nice songs and stuff like that, they say, “Now, stranger, tell us who you are.
[Show full text]
Euripides' Antiope and the Theban Trilogy by Julianna K. Will a Thesis
Euripides’ Antiope and the Theban Trilogy by Julianna K. Will A thesis submitted to the Graduate Program in Classics in conformity with the requirements for the Degree of Master of Arts. Queen’s University Kingston, Ontario, Canada April, 2015 Copyright © Julianna K. Will, 2015 Abstract This thesis is a discussion, reconstruction, and analysis of Euripides’ lost Antiope. Based on metrical studies which suggest a date much earlier than its usual date of 410 or 408 B.C., I specifically focus on the possibility that Antiope might be part of a larger Theban trilogy, produced together with Suppliant Women and one other play. I begin with a thorough look at the mythological material existing before Euripides’ version of the story, as well as the tragedy’s effect on later versions. From there I provide a translation of the existing fragments arranged in the order I believe they were written for the tragedy, and a reconstruction with discussion. The latter half of the thesis I devote to reading Antiope as part of a trilogy. I compare the similarities between the proposed Theban trilogy with the more firmly established Trojan trilogy, and I provide a discussion on Antiope and Suppliant Women, commenting on how reading the two plays together can drastically change an analysis of either. I conclude that even if Euripides did not have “trilogy” in mind when he wrote Antiope and Suppliant Women, the connection between the two tragedies is both too important and too subtle for them to have been produced in separate years and still have been appreciated by an ancient audience.
[Show full text]
Indianapolis Classical Schools
Indianapolis Classical Schools: Herron and Riverside E9 2018 Summer Reading Assignment If you have any questions, please contact Kristin Chapman, English Department Chair [email protected] This summer, you will read and study Greek mythology from Edith Hamilton’s Mythology: Timeless Tales of Gods and Heroes. We will use this book throughout the school year in English 9; therefore, you must purchase a copy of it. Be sure to bring both your book and completed chart with you on the first day of school in August. This assignment is a requirement for all students enrolled in English 9. Reading Assignment: Read the following selections from Mythology. Requirements for the notes are listed immediately following the reading assignment. Part One: The Gods ● Chapter 1: The Gods ● Chapter 2: The Two Great Gods of Earth Expectations: ● Use the chart provided. Specific instructions are detailed with each part of the reading. ● Of course, you are encouraged to read ahead. Consider how you can make connections among the characters in the text and the books/films/shows you watch. Use this chart to record important information from Edith Hamilton’s Mythology, Part One: The Gods, stop after Hestia. Please bullet point your notes in the chart. PANTHEON OF ROMAN DOMAIN OR SYMBOLS OTHER OBSERVATIONS GODS NAMES DUTY (ANIMALS, WEAPONS) ZEUS HERA POSEIDON HADES ATHENA APOLLO ARTEMIS PANTHEON OF ROMAN DOMAIN OR SYMBOLS OTHER GODS NAMES DUTY (ANIMALS, OBSERVATIONS WEAPONS) APHRODITE HERMES ARES HEPHAESTU S HESTIA Next, Hamilton discusses the lesser gods. Take notes over the following characters: LESSER GODS DOMAIN OR SYMBOLS OTHER OBSERVATIONS DUTY (ANIMALS, WEAPONS) EROS MUSES PROTEUS NAIADS CERBERUS LESSER GODS DOMAIN OR SYMBOLS OTHER OBSERVATIONS DUTY (ANIMALS, WEAPONS) THE FURIES/ ERINYES PAN AEOLUS THE GORGONS SIRENS THE FATES/ MOIRAE Now read Part One: Ch.
[Show full text]
Genealogy 1: Primal Forces, Children of Erebus and Nyx, Children of Gaia and Tartarus
Genealogy 1: Primal Forces, Children of Erebus and Nyx, Children of Gaia and Tartarus Genealogy 2: Children of the Night Genealogy 3: Children of Earth and Sky A (Cronus, Rhea, Cyclopes, Hecatoncheires, Uranus’s “Flesh and Blood”) Genealogy 4: Children of Earth and Sky B (Titans of Water and Mind) Genealogy 5: Children of Earth and Sky C (Titans of Sky) Genealogy 6: Children of Earth and Sea Genealogy 7: Later Titans Genealogy 8: Divine Children of Zeus A Genealogy 9: Divine Children of Zeus B Genealogy 10: Divine Children of Other Gods (Selected) Genealogy 11: Family of Deucalion, Xuthus Branch Genealogy 12: Family of Deucalion, Aeolus Branch, Sisyphus’s Family Genealogy 13: Family of Deucalion, Aeolus Branch, Families of Cretheus and Salmoneus Genealogy 14: Jason’s (and Odysseus’s) Maternal Descent Genealogy 15: Family of Deucalion, Aeolus Branch, Family of Calyce (royal family of Elis, beginnings of Calydon) Genealogy 16: House of Caldyon to Diomedes Genealogy 17: House of Calydon, Children of Thestius A Genealogy 18: House of Calydon, Children of Thestius B Genealogy 19: Early Inachids Genealogy 20: Later Inachids to Perseus Genealogy 21: Later Inachids, Perseus to Heracles Genealogy 22: Later Inachids, House of Thebes A Genealogy 23: Later Inachids, House of Thebes B Genealogy 24: House of Thebes C (usurpers) Genealogy 25: House of Athens A, Hephaestus to Pandion II Genealogy 26: Royal House of Athens B, Pandion II to Demophon (Including Theseus) Genealogy 27: Royal House of Crete Genealogy 28: Family of Tantalus, Alcathous Branch Genealogy 29: Family of Tantalus, House of Atreus (Mycenae) and Thyestes Genealogy 30: Family of Achilles Genealogy 31: Family of Odysseus (Including House of Sparta) Genealogy 32: House of Troy A, from beginning to Laomedon and Capys Genealogy 33: House of Troy B (Main Royal Line) Genealogy 34: House of Troy C (Aeneas’s Line) .
[Show full text]