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Books > Humanities > Religion & beliefs > Non-Christian religions > Pre-Christian European & Mediterranean religions > Ancient Greek religion
Readers coming to the Odyssey for the first time are often dazzled
and bewildered by the wealth of material it contains which is
seemingly unrelated to the central story: the main plot of
Odysseus' return to Ithaca is complicated by myriad secondary
narratives related by the poet and his characters, including
Odysseus' own fantastic tales of Lotus Eaters, Sirens, and cannibal
giants. Although these 'para-narratives' are a source of pleasure
and entertainment in their own right, each also has a special
relevance to its immediate context, elucidating Odysseus'
predicament and also subtly influencing and guiding the audience's
reception of the main story. By exploring variations on the basic
story-shape, drawing on familiar tales, anecdotes, and mythology,
or inserting analogous situations, they create illuminating
parallels to the main narrative and prompt specific responses in
readers or listeners. This is the case even when details are
suppressed or altered, as the audience may still experience the
reverberations of the better-known version of the tradition, and it
also applies to the characters themselves, who are often provided
with a model of action for imitation or avoidance in their
immediate contexts.
The era of the Roman Empire was distinguished by an explosion of
images and texts in a variety of media-metal, papyrus, mosaic,
gemstone-all designed to protect, heal, or grant some abstract
benefit to the persons who wore them on their bodies or placed them
in their homes. In the past scholars have explained this
proliferation of readily identifiable amulets by a sudden need for
magic or by a precipitous rise in superstition or anxiety in this
period, connected, perhaps, with the internal breakdown of Greek
rationalism or the migration of superstitious peoples from the
East. Christopher A. Faraone argues, instead, that these amulets
were not invented in this period as a result of an alteration in
the Roman worldview or a tidal wave of "oriental" influence, but
rather that they only become visible to us in the archaeological
record as a result of a number of technical innovations and
transformations: the increased epigraphic habit of the Imperial
period, the miniaturization of traditional domestic amulets, like
the triple-faced Hecate, on durable gems, or the utilization of
newly crafted Egyptianizing iconography. In short, it is only when
explicitly protective or curative texts, or strange new images, are
added to traditional Greek amulets, that modern observers realize
that these objects were thought to have the power to protect or
heal all along. The real question addressed by the book, then, is
not why we can identify so many amulets in the Roman Imperial
period but, rather, why we have failed to identify them in
artifacts of the preceding centuries. Featuring more than 120
illustrations, The Transformation of Greek Amulets in Roman
Imperial Times is not only a tremendous resource for those working
in the fields of ancient magic and religion but also an essential
reference for those interested in the religion, culture, and
history of the ancient Mediterranean.
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In this illustrated study Richard Buxton analyses Greek literary
narratives and visual representations of the metamorphosis of
humans and gods, as evidenced from Homer to Nonnos. Such tales have
become familiar in their Ovidian dress, as in the best-selling
translation by Ted Hughes; Buxton explores their Greek antecedents.
He investigates such issues as: How do different contexts shape the
way in which metamorphosis is narrated? How do the assumptions of
commentators about 'strangeness' affect how metamorphosis is
interpreted? How far should an interpreter allow 'contextual
charity' to render more acceptable a belief such as that in
metamorphosis? What are the implications of the notions of
'astonishment' (Greek: thambos) in a range of narratives about
transformation? Throughout Forms of Astonishment Buxton draws
comparisons between the Greek evidence and data from other
religious traditions, ancient and modern; he also introduces
comparative material from the sciences, from modern painting and
literature, and from the cinema and computer graphics. In
investigating metamorphoses of gods Buxton revisits the concept of
anthropomorphism, arguing that the fact that Greek divinities were
believed to change shape does not undermine the fundamentally
humanlike form of Greek divinity. He also examines certain strands
of Greek tradition, particularly among the philosophers, which
called metamorphosis into question, whether in relation to the gods
or to humans. Individual chapters deal with transformations into
the landscape and into plants or trees-in the latter case
transformation stories are set against a background of cultural
beliefs about 'seminal' substances such as blood and tears.
Overall, Forms of Astonishment raises issues relevant to an
understanding of broad aspects of Greek culture, and illuminates
issues explored by anthropologists and students of religion.
This volume includes all of the Classical, Hellenistic, and Roman
votive reliefs found to date in the excavations of the Athenian
Agora. In addition to providing a catalogue of the reliefs arranged
according to their subjects, the author treats the history of their
discovery, their production and workmanship, iconography, and
function. A large part of the study is devoted to discussion of the
original contexts of the reliefs, in an attempt to determine their
relationship to shrines in the vicinity and to investigate what
they can tell us about the character of religious activity in the
vicinity of the Agora. The work will be an important reference for
historians of Greek art as well as of Greek religion.
Polybius boldly declared that 'now that all places have become
accessible by land or sea, it is no longer appropriate to use poets
and writers of myth as witnesses of the unknown' (4.40.2). And yet,
in reality, the significance of myth did not diminish as the
borders of the known world expanded. Storytelling was always an
inextricable part of how the ancient Greeks understood their
environment; mythic maps existed alongside new, more concrete,
methods of charting the contours of the earth. Specific landscape
features acted as repositories of myth and spurred their retelling;
myths, in turn, shaped and gave sense to natural and built
environments, and were crucial to the conceptual resonances of
places both unknown and known. This volume brings together
contributions from leading scholars of Greek myth, literature,
history, and archaeology to examine the myriad intricate ways in
which ancient Greek myth interacted with the physical and
conceptual landscapes of antiquity. The diverse range of approaches
and topics highlights in particular the plurality and pervasiveness
of such interactions. The collection as a whole sheds new light on
the central importance of storytelling in Greek conceptions of
space.
Jill Dudley writes about the clash of St. Paul's concept of love
with the sexual pleasures which the pagans enjoyed at the great
temple of Aphrodite on Acrocorinth. She describes how the Apostle
spent his time at nearby Old Corinth observing, preaching and
converting, and why he wrote his Letters to the Corinthians. It is
as it says on the back cover of the booklet: All you need to know
about the sacred site, its myths, legends and its gods.
The Derveni Papyrus is the oldest known European "book." It was
meant to accompany the cremated body in Derveni Tomb A but, by a
stroke of luck, did not burn completely. Considered the most
important discovery for Greek philology in the twentieth century,
the papyrus was found accidentally in 1962 during a public works
project in an uninhabited place about 10 km from Thessaloniki, and
it is now preserved in the Archaeological Museum of Thessaloniki.
The papers in Poetry as Initiation discuss a number of open
questions: Who was the author of the papyrus? What is the date of
the text? What is the significance of burying a book with a corpse?
What was the context of the peculiar chthonic ritual described in
the text? Who were its performers? What is the relationship of the
author and the ritual to the so-called Orphic texts?
Kate Tempest is one of the most exciting and innovative performers
to have emerged in spoken-word poetry in many years; her dramatic
poem Brand New Ancients won the prestigious Ted Hughes Prize for
innovation in poetry. Tempest's wholly unique blend of street
poetry, rap and storytelling - combined with the spellbinding
delivery of an open-air revivalist - has won her legions of
followers all over the UK. Her remarkable stage presence is wholly
audible in this poem, a spoken story written to be told with live
music. Brand New Ancients is the tale of two families and their
intertwining lives, set against the background of the city and
braided with classical myth. Here, Tempest shows how the old myths
still live on in our everyday acts of violence, bravery, sacrifice
and love - and that our lives make tales no less dramatic and
powerful than those of the old gods.
Originally published in 1894, this book contains an exhaustive
amount of information on the gods and characters in ancient Greek
and Roman Myths. This is the original 1st edition by E M Berens. It
includes his original notes and a pronunciation index for every
uncommon word or name in the book which is not in most reprints.
This is not a blurry, scanned copy of the original. It is a fresh
and perfectly printed book.
This title is part of UC Press's Voices Revived program, which
commemorates University of California Press's mission to seek out
and cultivate the brightest minds and give them voice, reach, and
impact. Drawing on a backlist dating to 1893, Voices Revived makes
high-quality, peer-reviewed scholarship accessible once again using
print-on-demand technology. This title was originally published in
1942.
Of all the divinities of classical antiquity, the Greek Hermes
(Mercury in his Roman alter ego) is the most versatile, enigmatic,
complex, and ambiguous. The runt of the Olympian litter, he is the
god of lies and tricks, yet is also kindly towards mankind and a
bringer of luck. His functions embrace both the marking of
boundaries and their transgression, but also extend to commerce,
lucre, and theft, as well as rhetoric and practical jokes. In
another guise, he plays the role of mediator between all realms of
human and divine activity, embracing heaven, earth, and the
netherworld. Pursuing this elusive divinity requires a truly
multidisciplinary approach, reflecting his prismatic nature, and
the twenty contributions to this volume draw on a wide range of
fields to achieve this, from Greek and Roman literature (epic,
lyric, and drama), epigraphy, cult, and religion, to vase painting
and sculpture. In offering an overview of the myriad aspects of
Hermes/Mercury-including his origins, patronage of the gymnasium,
and relation to other trickster figures-the volume attempts to
track the god's footprints across the many domains in which he
partakes. Moreover, in keeping with his deep connection to
exchange, commerce, and dialogue, it aims to exemplify and further
encourage discourse between Latinists and Hellenists, as well as
between scholars of literary and material cultures.
*The definitive and comprehensive edition of Robert Graves's
classic retelling of the Greek myths* 'Icarus disobeyed his
father's instructions and began soaring towards the sun, rejoiced
by the lift of his great sweeping wings. Presently, when Daedalus
looked over his shoulder, he could no longer see Icarus; but
scattered feathers floated on the waves below...' These are the
greatest stories ever told - the labours of Hercules, the voyage of
the Argonauts, Theseus and the minotaur, Midas and his golden
touch, the Trojan War and Odysseus's journey home - brought
together into one epic and unforgettable story. Ideal for the first
time reader, it can be read as a single page-turning narrative,
while full commentaries as well as a comprehensive index of names
make it equally valuable for anyone seeking an authoritative and
detailed account of the spectacular stories that make up the
bedrock of Western literature. The Greek Myths is a classic among
classics, a treasure trove of extraordinary tales and a masterful
work of literature in its own right.
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
This classic book comprehensively details the myths of Greece and
Rome. Beautifully illustrated and with many chapters including
'Neptune', 'The Trojan War' and an 'Analysis of Myths', this book
would be an excellent addition to the bookshelf of anyone with an
interest in the subject. Many of the earliest books, particularly
those dating back to the 1900s and before, are now extremely scarce
and increasingly expensive. We are republishing these classic works
in affordable, high quality, modern editions, using the original
text and artwork.
The religious imagination of the Greeks, Robert Garland
observes, was populated by divine beings whose goodwill could not
be counted upon, and worshipers faced a heavy burden of choice
among innumerable deities to whom they might offer their devotion.
These deities and Athenian polytheism itself remained in constant
flux as cults successively came into favor and waned. Examining the
means through which the Athenians established and marketed cults,
this handsomely illustrated book is the first to illuminate the
full range of motives political and economic, as well as spiritual
that prompted them to introduce new gods."
The religious imagination of the Greeks, Robert Garland
observes, was populated by divine beings whose goodwill could not
be counted upon, and worshipers faced a heavy burden of choice
among innumerable deities to whom they might offer their devotion.
These deities and Athenian polytheism itself remained in constant
flux as cults successively came into favor and waned. Examining the
means through which the Athenians established and marketed cults,
this handsomely illustrated book is the first to illuminate the
full range of motives political and economic, as well as spiritual
that prompted them to introduce new gods."
Brought to you by Penguin. Following the bestselling retellings of
the Greek myths in Mythos and Heroes, Stephen Fry's bewitching
third volume Troy - concerning love and war, passion and power - is
now ready for ordering. The story of Troy speaks to all of us - the
kidnapping of Helen, a queen celebrated for her beauty, sees the
Greeks launch a thousand ships against the city of Troy, to which
they will lay siege for ten whole and very bloody years. It is
Zeus, the king of the gods, who triggers the war when he asks the
Trojan prince Paris to judge the fairest goddess of them all.
Aphrodite bribes Paris with the heart of Helen, wife of King
Menelaus of the Greeks, and, naturally, nature takes its course. It
is a terrible, brutal war with casualties on all sides as well as
strained relations between allies. The Greek's most fearsome
warrior, Achilles, argues with King Agamemnon, his commander, over
another woman, the Trojan slave Briseis. The consequences lead to
terrible tragedies. In Troy you will find heroism and hatred, love
and loss, revenge and regret, desire and despair. It is these human
passions, written bloodily in the sands of a distant shore, that
still speak to us today. It is a myth in which we seek the truth
about ourselves and which Stephen Fry brings breathtakingly to
life. Praise for Heroes and Mythos: 'Ebullient and funny' The Times
'Entertaining and edifying' Daily Telegraph 'The Greek gods of the
past become relatable as pop culture, modern literature and music
are woven throughout. Joyfully informal yet full of literary
legacy' Guardian 'An odyssey through Greek mythology. Brilliant . .
. all hail Stephen Fry' Daily Mail 'A romp through the lives of
ancient Greek gods. Fry is his story-telling best . . . the gods
will be pleased' The Times (c) Stephen Fry 2020 (P) Penguin Audio
2020
Religion was integral to the conduct of war in the ancient world
and the Greeks were certainly no exception. No campaign was
undertaken, no battle risked, without first making sacrifice to
propitiate the appropriate gods (such as Ares, god of War) or
consulting oracles and omens to divine their plans. Yet the link
between war and religion is an area that has been regularly
overlooked by modern scholars examining the conflicts of these
times. This volume addresses that omission by drawing together the
work of experts from across the globe. The chapters have been
carefully structured by the editors so that this wide array of
scholarship combines to give a coherent, comprehensive study of the
role of religion in the wars of the Archaic and Classical Greek
world. Aspects considered in depth will include: Greek writers on
religion and war; declarations of war; fate and predestination, the
sphagia and pre-battle sacrifices; omens, oracles and portents,
trophies and dedications to cult centres; militarized deities;
sacred truces and festivals; oaths and vows; religion & Greek
military medicine.
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