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Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Greek Mythology
Greek Mythology The Creation Myth “First Chaos came into being, next wide bosomed Gaea(Earth), Tartarus and Eros (Love). From Chaos came forth Erebus and black Night. Of Night were born Aether and Day (whom she brought forth after intercourse with Erebus), and Doom, Fate, Death, sleep, Dreams; also, though she lay with none, the Hesperides and Blame and Woe and the Fates, and Nemesis to afflict mortal men, and Deceit, Friendship, Age and Strife, which also had gloomy offspring.”[11] “And Earth first bore starry Heaven (Uranus), equal to herself to cover her on every side and to be an ever-sure abiding place for the blessed gods. And earth brought forth, without intercourse of love, the Hills, haunts of the Nymphs and the fruitless sea with his raging swell.”[11] Heaven “gazing down fondly at her (Earth) from the mountains he showered fertile rain upon her secret clefts, and she bore grass flowers, and trees, with the beasts and birds proper to each. This same rain made the rivers flow and filled the hollow places with the water, so that lakes and seas came into being.”[12] The Titans and the Giants “Her (Earth) first children (with heaven) of Semi-human form were the hundred-handed giants Briareus, Gyges, and Cottus. Next appeared the three wild, one-eyed Cyclopes, builders of gigantic walls and master-smiths…..Their names were Brontes, Steropes, and Arges.”[12] Next came the “Titans: Oceanus, Hypenon, Iapetus, Themis, Memory (Mnemosyne), Phoebe also Tethys, and Cronus the wily—youngest and most terrible of her children.”[11] “Cronus hated his lusty sire Heaven (Uranus). -
Ancient Carved Ambers in the J. Paul Getty Museum
Ancient Carved Ambers in the J. Paul Getty Museum Ancient Carved Ambers in the J. Paul Getty Museum Faya Causey With technical analysis by Jeff Maish, Herant Khanjian, and Michael R. Schilling THE J. PAUL GETTY MUSEUM, LOS ANGELES This catalogue was first published in 2012 at http: Library of Congress Cataloging-in-Publication Data //museumcatalogues.getty.edu/amber. The present online version Names: Causey, Faya, author. | Maish, Jeffrey, contributor. | was migrated in 2019 to https://www.getty.edu/publications Khanjian, Herant, contributor. | Schilling, Michael (Michael Roy), /ambers; it features zoomable high-resolution photography; free contributor. | J. Paul Getty Museum, issuing body. PDF, EPUB, and MOBI downloads; and JPG downloads of the Title: Ancient carved ambers in the J. Paul Getty Museum / Faya catalogue images. Causey ; with technical analysis by Jeff Maish, Herant Khanjian, and Michael Schilling. © 2012, 2019 J. Paul Getty Trust Description: Los Angeles : The J. Paul Getty Museum, [2019] | Includes bibliographical references. | Summary: “This catalogue provides a general introduction to amber in the ancient world followed by detailed catalogue entries for fifty-six Etruscan, Except where otherwise noted, this work is licensed under a Greek, and Italic carved ambers from the J. Paul Getty Museum. Creative Commons Attribution 4.0 International License. To view a The volume concludes with technical notes about scientific copy of this license, visit http://creativecommons.org/licenses/by/4 investigations of these objects and Baltic amber”—Provided by .0/. Figures 3, 9–17, 22–24, 28, 32, 33, 36, 38, 40, 51, and 54 are publisher. reproduced with the permission of the rights holders Identifiers: LCCN 2019016671 (print) | LCCN 2019981057 (ebook) | acknowledged in captions and are expressly excluded from the CC ISBN 9781606066348 (paperback) | ISBN 9781606066355 (epub) BY license covering the rest of this publication. -
Medusa's Tale ______
MEDUSA'S TALE _________________________ A one-act drama by Carol S. Lashof This script is for evaluation only. It may not be printed, photocopied or distributed digitally under any circumstances. Possession of this file does not grant the right to perform this play or any portion of it, or to use it for classroom study. www.youthplays.com [email protected] 424-703-5315 Medusa's Tale © 1991 Carol S. Lashof All rights reserved. ISBN 978-1-62088-736-3. Caution: This play is fully protected under the copyright laws of the United States of America, Canada, the British Commonwealth and all other countries of the copyright union and is subject to royalty for all performances including but not limited to professional, amateur, charity and classroom whether admission is charged or presented free of charge. Reservation of Rights: This play is the property of the author and all rights for its use are strictly reserved and must be licensed by the author's representative, YouthPLAYS. This prohibition of unauthorized professional and amateur stage presentations extends also to motion pictures, recitation, lecturing, public reading, radio broadcasting, television, video and the rights of adaptation or translation into non-English languages. Performance Licensing and Royalty Payments: Amateur and stock performance rights are administered exclusively by YouthPLAYS. No amateur, stock or educational theatre groups or individuals may perform this play without securing authorization and royalty arrangements in advance from YouthPLAYS. Required royalty fees for performing this play are available online at www.YouthPLAYS.com. Royalty fees are subject to change without notice. Required royalties must be paid each time this play is performed and may not be transferred to any other performance entity. -
The Story of Perseus and Medusa, an Interpretation of Its Meaning, and the Topos of Decapitation
The Story of Perseus and Medusa 1 Chapter 1 The Story of Perseus and Medusa, An Interpretation of Its Meaning, and the Topos of Decapitation This chapter’s summary of the tale of Perseus and the Gorgon will precede a detailed analysis of the historical evolution of Medusa’s image as a maternal deity and what that image meant to ancient Greece. A subsequent section on the symbolism of the head as a life force will be important to this study’s dis- cussion of the value of Medusa’s head as a symbol of power. The Textual Sources for Cellini’s Perseus and Medusa Books IV and V of Ovid’s Metamorphoses include the version of Perseus’ tale that had the greatest impact upon Cellini. However, Hesiod’s Theogony and Lucan’s Pharsalia contain additional information that would have been impor- tant to the sculptor. Mention of other Greek authors is also due. What follows is Ovid’s account, unless specified otherwise.1 Danae was the daughter of King Acrisius of Argos, who feared an oracle that his future grandson would kill him and therefore become ruler of the land. So one day Acrisius imprisoned Danae to prevent her from meeting suitors. How- ever, Jupiter (Zeus) came to the girl as a shower of gold (he was a sun god) and impregnated Danae with the baby Perseus. For years the princess hid her baby, but it was not long before her father found him out and, according to the 1 Ovid’s, Lucan’s and Hesiod’s versions of Perseus’ tale are the most thorough popular accounts that existed in the Renaissance. -
Advanced – Preliminary Round 1 Th 1
Yale Certamen 2019 Written by Samir Al-Ali, Nestoras Apodiakos, Margot Armbruster, Aspen Bombardo, Skylar Cobbett, Andres Cook, Ram Gollapudy, Noah Harris, Connor Harrison, Michael Howard, Minyoung Hwang, David Jackson, David Jaffe, Lina Kapp, Michael Kearney, John Kim, Carina Layfield, Joshua Lomasney, Mindren Lu, Noah McThenia, Gabriel Molina, Ali Murray, Matt Nelson, Ben Ream, Henry Schott, Jason Tan, Matthew Thomas, and Jonathan Yuan. Edited by Michael Kearney. Advanced – Preliminary Round 1 th 1. Welcome to the 9 annual Yale Certamen! Translate the following sentence into Latin: We hope that you will enjoy this competition! SPĒRĀMUS VŌS/TĒ HŌC CERTĀMINE FRUCTŪRŌS/-ĀS/-UM/-AM ESSE! or SPĒRĀMUS FORE UT HŌC CERTĀMINE FRUĀMINĪ! B1: Bene factum! Now translate this sentence into Latin: We encourage you to use both knowledge and speed. HORTĀMUR (VŌS/TĒ) (UT) SCIENTIĀQUE CELERITĀTEQUE ŪTĀMINĪ/ŪTĀRIS or ET SCIENTIĀ ET CELERITĀTE B2: Finally, using potior , say in Latin: If you play well, you will obtain a wonderful reward. SĪ BENE LUDĒS/LUDĒTIS/LŪSERIS/LŪSERITIS, PRAEMIŌ MĪRĀBILĪ/MĪRŌ/MĪRANDŌ POTIĒMINĪ/POTIĒRIS (or PRAEMIĪ MĪRĀBILIS/MĪRĪ/MĪRANDĪ) 2. Zeus Katachthonios was an epithet of what god, who snatched up Persephone as she was picking flowers and carried her down to the Underworld? adHADES B1: What epithet of Hades meant “The Unseen One”? AÏDONEUS B2: At what lake near Naples did Aeneas enter the Underworld? AVERNUS 3. Which of the following verbs, if any, has a reduplicated third principal part: cēdō, pergō, pellō, stertō? PELLŌ B1: Define the verb pellō and provide all principal parts. PELLŌ, PELLERE, PEPULĪ, PULSUS / PULSUM = (TO / I) BEAT / DRIVE B2: Define the verb pergō and provide all principal parts. -
Thronosis in Ritual, Myth, and Iconography Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2006 To Sit in Solemn Silence? Thronosis in Ritual, Myth, and Iconography Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. "To Sit in Solemn Silence? Thronosis in Ritual, Myth, and Iconography." American Journal of Philology 127, no. 3 (2006): 347-366. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/classics_pubs/80 For more information, please contact [email protected]. Radcliffe G. Edmonds III To Sit in Solemn Silence? Thronosis in Ritual, Myth, and Iconography American Journal of Philology 127.3 (forthcoming September 2006) To Sit in Solemn Silence? Thronosis in Ritual, Myth, and Iconography* In Aristophanes' Clouds, the old man Strepsiades, who wishes to learn from Socrates how to cheat his creditors, is made to put on a wreath and to sit on a bed, while Socrates anoints him in preparation for the epiphany of the Cloud goddesses. The initiation of Strepsiades into the Phrontisterion of Socrates clearly draws upon mystery rituals familiar to Aristophanes' audience, but the debate over the exact rites parodied goes back to the scholia. Among modern scholars, -
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). -
A Methodological Guide for Educational Approaches to the European Folk Myths and Legends
Angela ACQUARO, Anthi APOSTOLIDOU, Lavinia ARAMĂ, Carmen-Mihaela BĂJENARU, Anetta BIENIARZ, Danuta BIENIEK, Joanna BRYDA-KŁECZEK, Mariele CARDONE, Sérgio CARLOS, Miguel CARRASQUEIRA, Daniela CERCHEZ, Neluța CHIRICA, Corina- Florentina CIUPALĂ, Florica CONSTANTIN, Mădălina CRAIOVEANU, Simona-Diana CRĂCIUN, Giovanni DAMBRUOSO, Angela DECAROLIS, Sylwia DOBRZAŃSKA, Anamaria DUMITRIU, Bernadetta DUŚ, Urszula DWORZAŃSKA, Alessandra FANIUOLO, Marcin FLORCZAK, Efstathia FRAGKOGIANNI, Ramune GEDMINIENE, Georgia GOGOU, Nazaré GRAÇA, Davide GROSSI, Agata GRUBA, Maria KAISARI, Maria KATRI, Aiste KAVANAUSKAITE LUKSE, Barbara KOCHAN, Jacek LASKA, Vania LIUZZI, Sylvia MASTELLA, Silvia MANEA, Lucia MARTINI, Paola MASCIULLI, Paula MELO, Ewa MICHAŁEK, Vittorio MIRABILE, Sandra MOTUZAITE-JURIENE, Daniela MUNTEANU, Albert MURJAS, Maria João NAIA, Asimina NEGULESCU, Helena OLIVEIRA, Marcin PAJA, Magdalena PĄCZEK, Adina PAVLOVSCHI, Małgorzata PĘKALA, Marioara POPA, Gitana PETRONAITIENE, Rosa PINHO, Monika POŹNIAK, Erminia RUGGIERO, Ewa SKWORZEC, Artur de STERNBERG STOJAŁOWSKI, Annalisa SUSCA, Monika SUROWIEC-KOZŁOWSKA, Magdalena SZELIGA, Marta ŚWIĘTOŃ, Elpiniki TASTANI, Mariusz TOMAKA, Lucian TURCU A METHODOLOGICAL GUIDE FOR EDUCATIONAL APPROACHES TO THE EUROPEAN FOLK MYTHS AND LEGENDS ISBN 978-973-0-34972-6 BRĂILA 2021 Angela ACQUARO, Anthi APOSTOLIDOU, Lavinia ARAMĂ, Carmen-Mihaela BĂJENARU, Anetta BIENIARZ, Danuta BIENIEK, Joanna BRYDA-KŁECZEK, Mariele CARDONE, Sérgio CARLOS, Miguel CARRASQUEIRA, Daniela CERCHEZ, Neluța CHIRICA, Corina- Florentina CIUPALĂ, -
New Device Reveals What Ocean Microbes Do INSTRUMENT MAY HELP MONITOR SEWAGE TREATMENT PLANTS by Kate Madin
Technology New Device Reveals What Ocean Microbes Do INSTRUMENT MAY HELP MONITOR SEWAGE TREATMENT PLANTS by Kate Madin hether you’re a plant, animal, or even a microbe, you that would significantly reduce the time and peoplepower now generally can’t conduct the business of living without needed to measure bacterial decomposition of sewage in waste- exchanging oxygen. So just as you can figure out what’s water treatment facilities. going on in a financial system by following the money, Oceanographers have long measured microbial respiration, scientists can learn what’s happening in an ecosystem known as biological oxygen demand, or BOD, by measuring by tracking the oxygen. the decline in oxygen in water samples kept in the dark over WIn photosynthesis, plants take in carbon dioxide, use solar time. With no light, no photosynthesis occurs, and no oxygen energy to convert it into carbon-containing compounds, and is released, so the oxygen decline reflects respiration by mi- release oxygen. In the mirror-image process of respiration, crobes in the water. organisms take in oxygen, consume carbon-containing com- These older methods use either sensors, or, in the original pounds for energy, and release carbon dioxide. gold standard “Winkler method,” a series of chemical proce- Microbes also do a whole lot of photosynthesizing, respiring, dures that are time-consuming to conduct accurately on a ship. and eating in the ocean, which collectively have big impacts on In addition, samples are held in closed bottles for incuba- everything from marine food webs to Earth’s atmosphere and tions, often at different temperatures or pressures than those climate. -
Ceto/Phorcys: a Tidally-Evolved Binary Centaur
The orbit, mass, size, albedo, and density of (65489) Ceto/Phorcys: A tidally-evolved binary Centaur W.M. Grundy 1, J.A. Stansberry 2, K.S. Noll 3, D.C. Stephens 4, D.E. Trilling 2, S.D. Kern 3, J.R. Spencer 5, D.P. Cruikshank 6, and H.F. Levison 5. 1. Lowell Observatory, 1400 W. Mars Hill Rd., Flagstaff AZ 86001. 2. Steward Observatory, University of Arizona, 933 N. Cherry Ave., Tucson AZ 85721. 3. Space Telescope Science Institute, 3700 San Martin Dr., Baltimore MD 21218. 4. Formerly at Dept. of Physics and Astronomy, Johns Hopkins University, Baltimore MD 21218; now at Dept. of Physics and Astronomy, Brigham Young University, N283 ESC Provo UT 84602. 5. Southwest Research Institute, 1050 Walnut St. #400, Boulder CO 80302. 6. NASA Ames Research Center, MS 245-6, Moffett Field CA 94035. In press in Icarus 2007 Primary contact: Will Grundy E-mail: [email protected] Voice: 928-233-3231 Fax: 928-774-6296 Running head: Binary Centaur (65489) Ceto/Phorcys Manuscript pages: 25 Figures: 5 Tables: 5 1 ABSTRACT Hubble Space Telescope observations of Uranus- and Neptune-crossing object (65489) Ceto/Phorcys (provisionally designated 2003 FX 128 ) reveal it to be a close binary system. The mutual orbit has a period of 9.554 ± 0.011 days and a semimajor axis of 1840 ± 48 km. These values enable computation of a system mass of (5.41 ± 0.42) × 10 18 kg. Spitzer Space Tele- scope observations of thermal emission at 24 and 70 µm are combined with visible photometry to 10 0.021 constrain the system's effective radius (109 11 km) and geometric albedo (0.084 0.014 ). -
1. the Personification of the Deep, Chartless Ocean, Born to Gaia at the Beginning of Time: (A) Nereus (B) Pontus (C) Proteus (D) Triton
Name: __________________________________ Mythology Chapter Quiz 7 _____ 1. The personification of the deep, chartless ocean, born to Gaia at the beginning of time: (a) Nereus (b) Pontus (c) Proteus (d) Triton _____ 2. The brother of Zeus and master of the ocean: (a) Apollo (b) Nereus (c) Poseidon (d) Pontus _____ 3. The personification of the encircling ocean, one of the Titans who did NOT end up in Tartarus: (a) Nereus (b) Oceanus (c) Pontus (d) Proteus _____ 4. Old man of the sea encountered by Menelaus, known by the many different forms he can take, as well as his prophetic abilities: (a) Chrysaor (b) Polyphemus (c) Poseidon (d) Proteus _____ 5. The wife of Poseidon is: (a) Amphitrite (b) Galatea (c) Hebe (d) Thetis _____ 6. The Nereids are: (a) deities of storm stirred up by Poseidon (b) kindly female spirits of the ocean (c) the personification of the welcoming shore (d) the favorable winds that carry ships on a steady course _____ 7. Polyphemus is the son of: (a) Nereus (b) Pontus (c) Poseidon (d) Triton _____ 8. The most complete account of the love of Polyphemus and Galatea (partly reproduced in ML) was written in approximately: (a) 700 BCE (b) 450 BCE (c) 330 BCE (d) 10 AD _____ 9. Thetis, who had a special friendship with Zeus, was married to (a) Apollo (b) Hephaestus (c) Heracles (d) Peleus _____ 10. Polyphemus was (a) a handsome sailor (b) a Cyclops (c) a merman (Triton) (d) deposed king _____ 11. Which is NOT associated with Poseidon? (a) storms at sea (b) taming horses (c) earthquakes (d) chthonic sacrifices _____ 12.