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Ovid Book 12.30110457.Pdf
METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX. -
2013 Virginia Senior Classical League State Finals Certamen Level III NOTE to MODERATORS: in Answers, Information in Parentheses Is Optional Extra Information
2013 Virginia Senior Classical League State Finals Certamen Level III NOTE TO MODERATORS: in answers, information in parentheses is optional extra information. A slash ( / ) indicates an alternate answer. Underlined portions of a longer, narrative answer indicate required information. ROUND ONE 1. TOSSUP: From what Latin noun, with what meaning, do the words ignition and igneous ultimately derive? ANS: IGNIS, FIRE BONUS: From what Latin verb, with what meaning, do the words coherent and adhesion derive? ANS: HAEREŌ, STICK/CLING 2. TOSSUP: According to Livy and Plutarch, what legendary Roman triumphed four times, was dictator five times, was never once consul, was honored with the title “Second Founder of Rome,” and conquered the city of Veii in 396 BC? ANS: (M. FURIUS) CAMILLUS BONUS: Following the victory over Veii, for what accusation did his political adversaries impeach Camillus? ANS: EMBEZZLEMENT 3. TOSSUP: According to Hesiod, what moon titan, the daughter of Ouranos and Gaia, bore Leto from the union with her brother Coeus? ANS: PHOEBE BONUS: According to Hesiod, what Star goddess was also the daughter of Phoebe and Coeus and the mother of Hecate? ANS: Asteria 4. TOSSUP: What fifteen-book work of Ovid ends with the apotheosis of Julius Caesar? ANS: METAMORPHOSES BONUS: What other work of Ovid, consisting of epistolary poems written by mythological heroines, allowed him to claim that he had created a new genre of mythological elegy? ANS: HEROIDES rd 5. TOSSUP: Give the 3 person singular, pluperfect active subjunctive of noceō, nocēre. ANS: NOCUISSET nd BONUS: Now give the 2 person plural present subjunctive of morior, morī. -
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 -
The Pedimental Sculpture of the Hephaisteion
THE PEDIMENTALSCULPTURE OF THE HEPHAISTEION (PLATES 48-64) INTRODUCTION T HE TEMPLE of Hephaistos, although the best-preserved ancient building in Athens and the one most accessible to scholars, has kept its secrets longer than any other. It is barely ten years since general agreement was reached on the name of the presiding deity. Only in 1939 was the evidence discovered for the restora- tion of an interior colonnade whicli at once tremendously enriched our conception of the temple. Not until the appearance of Dinsmoor's study in 1941 did we have a firm basis for assessing either its relative or absolute chronology.' The most persistent major uncertainty about the temple has concerned its pedi- mental sculpture. Almost two centuries ago (1751-55), James Stuart had inferred 1 The general bibliography on the Hephaisteion was conveniently assembled by Dinsmoor in Hesperia, Supplement V, Observations on the Hephaisteion, pp. 1 f., and the references to the sculpture loc. cit., pp. 150 f. On the sculpture add Olsen, A.J.A., XLII, 1938, pp. 276-287 and Picard, Mamtel d'Archeologie grecque, La Sculpture, II, 1939, pp. 714-732. The article by Giorgio Gullini, " L'Hephaisteion di Atene" (Archeologia Classica, Rivista dell'Istituto di Archeologia della Universita di Roma, I, 1949, pp. 11-38), came into my hands after my MS had gone to press. I note many points of difference in our interpretation of the sculptural history of the temple, but I find no reason to alter the views recorded below. Two points of fact in Gullini's article do, however, call for comment. -
Round 1 Lower Level
Round 1 Lower Level 1. What two Greeks tried to avoid the Trojan War by deception? Odysseus & Achilles -B1. Who uncovered the pretended madness of Odysseus? Palamedes -B2. Who discovered Achilles disguised as a girl? Odysseus (& Diomedes) 2. Who invaded Italy in 218 BC by crossing the Pyrenees and Alps? Hannibal -B1. Where was his first encounter with Roman troops? Ticinus River -B2. Ticinus river was only a skirmish. Where did Hannibal crush the armies of both the counsuls in December of 218? Trebia 3. You should listen to your parents when they tell you to study with the television off. I however don’t listen very well and had the TV on while I was writing these questions. I found myself watching reality TV instead of working. The first show that was on was ‘Big Brother’. What would the Romans likely have called this show if they could tune in to our broadcast? Magnus Frater -B1. I then flipped to MTV, where a new episode of ‘True Life’ was airing. What would the Romans have called that show? Vita Vera -B2. Bored with that I flipped to VH1 where there was Bret Michaels on his show ‘Rock of Love’. What would the Romans have called that show? Saxum Amoris 4. Translate this sentence into English: Oportet nos multa dona ferre. It is right/proper/necessary for us to bring many gifts. -B1. Translate this sentence into English: Decet senatorem honorare imperatorem. It is proper/fitting for the senate to honor the emperor/general. -B2. Translate this sentence into English: Paenitet me irae. -
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 -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
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. -
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. -
Death and the Female Body in Homer, Vergil, and Ovid
DEATH AND THE FEMALE BODY IN HOMER, VERGIL, AND OVID Katherine De Boer Simons A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Depart- ment of Classics. Chapel Hill 2016 Approved by: Sharon L. James James J. O’Hara William H. Race Alison Keith Laurel Fulkerson © 2016 Katherine De Boer Simons ALL RIGHTS RESERVED ii ABSTRACT KATHERINE DE BOER SIMONS: Death and the Female Body in Homer, Vergil, and Ovid (Under the direction of Sharon L. James) This study investigates the treatment of women and death in three major epic poems of the classical world: Homer’s Odyssey, Vergil’s Aeneid, and Ovid’s Metamorphoses. I rely on recent work in the areas of embodiment and media studies to consider dead and dying female bodies as representations of a sexual politics that figures women as threatening and even mon- strous. I argue that the Odyssey initiates a program of linking female death to women’s sexual status and social class that is recapitulated and intensified by Vergil. Both the Odyssey and the Aeneid punish transgressive women with suffering in death, but Vergil further spectacularizes violent female deaths, narrating them in “carnographic” detail. The Metamorphoses, on the other hand, subverts the Homeric and Vergilian model of female sexuality to present the female body as endangered rather than dangerous, and threatened rather than threatening. In Ovid’s poem, women are overwhelmingly depicted as brutalized victims regardless of their sexual status, and the female body is consistently represented as bloodied in death and twisted in metamorphosis. -
Early Mythology Ancestry
GRANHOLM GENEALOGY EARLY MYTHOLOGY ANCESTRY 1 INTRODUCTION This book covers the earliest history of man and the mythology in some countries. The beginning from Adam and Eve and their descendants is from the Old Testament, but also by several authors and genealogy programs. The age of the persons in the lineages in Genesis is expressed in their “years”, which has little to do with the reality of our 365-day years. I have chosen one such program as a starting point for this book. Several others have been used, and as can be expected, there are a lot of conflicting information, from which I have had to choose as best I can. It is fairly well laid out so the specific information is suitable for print. In addition, the lineage information shown covers the biblical information, fairly close to the Genesis, and it also leads to both to mythical and historical persons in several countries. Where myth turns into history is up to the reader’s imagination. This book lists individuals from Adam and Eve to King Alfred the Great of England. Between these are some mythical figures on which the Greek (similar to Roman) mythology is based beginning with Zeus and the Nordic (Anglo-Saxon) mythology beginning with Odin (Woden). These persons, in their national mythologies, have different ancestors than the biblical ones. More about the Nordic mythology is covered in the “Swedish Royal Ancestry, Book 1”. Of additional interest is the similarity of the initial creation between the Greek and the Finnish mythology in its national Kalevala epos, from which a couple of samples are included here.