A new approach to the ancient world is only too often a wrong approach, unless it is based on some concrete discovery. But I think it fair to talk of newperspectives, at least, in the study of Greek mythology. Certainly the old and familiar ones are no longer adequate. Indeed it is surprising, in the light of fresh intuitions about society, literacy, the pre-Homeric world, and relations with the ancient Near East, that myth—one of the most pervasive aspects (...) of Greek culture—has been left in its old and rather cobwebby pigeon-hole. Rose's simple paraphrases are accepted as adequate for students; Nilsson's sparse pages in his history of religion are rightly respected, though some of them are too simple; the Murray-Cook-Harrison-Cornford reconstruction of religion, ritual and myth is regarded as a little excessive, but perhaps not too far out; Kerényi and Eliade are roughly tolerated, if not widely read by Classicists, and their books are ordered in profusion for the library; the psychological side is adequately taken care of, or so it is supposed, by what is left from Freud and Jung, with Cassirer as sufficient authority for the sources of mythical imagination.Many of these critics had their moments of brilliant insight, but most were misleading in their theories taken as a whole. We can now accept that many myths have ritual counterparts, and some have ritual origins, without having to adopt Cornford's belief, developed after Harrison, Frazer and Robertson Smith, that all myths are such. (shrink)

A new translation of an important text for Greek mythology used as a source book by classicists from antiquity to Robert Graves, The Library of Greek Mythology is a complete summary of early Greek myth. Using the ancient system of detailed histories of the great families, it contains invaluable genealogical diagrams for maximum clarity. The introduction gives details of sources and narrative traditions, and there is comprehensive annotation. An indispensable reference work for anyone interested in (...) classical mythology. (shrink)

에른스트 블로흐가 제시한 희망철학의 기본정신은 그의 프로메테우스 해석으로부터 나온 것이다. 희망의 가능 근거는 미래 시간의 지평이며, 그로부터 우리는 ‘아직-아님’이라는 시간성의 계기를 발견할 수 있다. 블로흐는 역사의 참된 창조는 세계의 시초에 있는 것이 아니라 그 마지막에 있다고 보았다. 세계 종말에서의 참된 창조는 기존의 것에 대한 부정에 그치지 않고 새롭게 하는 혁명적 사건에 의해서 실현된다. 블로흐는 이를 수행할 수 있는 인간상을 프로메테우스 신화에서 찾았다. 다른 그리스의 신들과는 달리 프로메테우스는 인간에게 불과 기술을 전수하려고 했음에도 불구하고 종교적 신앙의 대상이 되지 못했다.BR 프로메테우스는 운명과 죽음 (...) 앞에서 무력해지는 올림포스의 신들과는 달리 앞에서만 본 예술종교의 한계를 넘어서서 현실적 고통과 폭압적 질서에 굴복하지 않고 해방과 자유를 성취하고자 노력했다. 프로메테우스는 아이스퀼로스의 비극 속에서 종교적 의미를 얻게 되었고, 괴테와 블로흐 등을 거쳐서 희망철학적 인간상으로 정립될 수 있었다. 블로흐가 희망철학에서 구축한 인간상에 가장 근접한 자가 바로 프로메테우스인 것이다.BR 희망은 학문의 역사에 한 번도 등장한 적이 없는, 이른바 ‘아직 이루어지지 않은 것’, ‘아직 완성되지 않은 것’에서 ‘아직-아님’의 성격을 가지고 있다. 블로흐는 자신의 희망 사유에서 미래, 전초, 새것의 범주를 새롭게 도입한다. 이전 철학자들이 말하는 ‘본질’은 ‘과거적 본성의 총체’이다. 그러나 블로흐는 단호하게 본질은 결코 과거 속에 있지 않으며, 세계의 전초에 있다고 말한다. 그것은 우리에게 아직 이루어지지 않은, 아직 달성되지 않은 ‘고향’의 문제이기도 하다. 이러한 블로흐의 희망사유는 카드모스, 아이스클레피오스, 오르페우스, 디오니소스, 예수 그리스도로 이어지는 ‘프로메테우스 영향사’를 통해 확립되었다. (shrink)

The last major work of the giant of the field. Martin P. Nilsson set himself the task of tracing the elements of Greekmythology, as they appear in Homer's Iliad, to their source in Mycenaean culture, a much earlier period. His conclusions, drawn from a very limited empirical material - archaeology, very few relevant Linear B texts - are remarkably compelling.

This article examines a series of Greek myths which establish a structural equivalence between two motifs, stoning and blinding; the two penalties either substitute for one another in alternative versions of a single story, or appear in sequence as repayments in kind. After reviewing other theories concerning the motives behind blinding and lapidation, I argue that both punishments-together with petrifaction and live imprisonment, which frequently figure alongside the other motifs-are directed against individuals whose crimes generate pollution. This miasma affects (...) not only the perpetrator of the deed, but risks spreading to the community at large, and prompts measures aimed at containing the source of the disease. Both blinding and lapidation are designed to cordon off the contaminant by removing him from all visual and tactile contact with other men. But it is not only the nature of the crimes that explains the kinship between the two penalties. I further argue that the attributes Greek thinking assigned to stones, repeatedly characterized as unseeing, mute, immobile, and dry, and symbolic of the condition of the dead, elucidate the connections and clarify the antagonism that myth suggests between lapidation and sight. Stoning, blinding, imprisonment, and petrifaction all consign the criminal to an existence exactly parallel to that of the stone, stripping him of the properties that distinguish the living from the dead, and making him both unseeing and unseen. Three examples drawn from archaic and classical literature provide examples of these interactions between stones, blindness, invisibility, and death: the snake portent sent by Zeus in Book 2 of the Iliad, the Perseus myth, and Hermes' activity in both the Homeric Hymn to Hermes and Aeschylus' Choephoroe. (shrink)

Since Freud reimagined Sophocles' Oedipus as a transhistorical Everyman, far-reaching changes have occurred in the social and sexual conditions of Western identity. This book shows how both classical and Freudian perspectives may now differently illuminate the forming stories of a present-day world of serial families, multiple sexualities, and reproductive technologies.

Novelties introduced into traditional myths are an essential characteristic of Greek tragedy. Each and every play demonstrates, in different ways, how tragedians were versatile and innovative in handling mythic material. Modern prefaces to individual tragedies often discuss the possible innovations in the dramatization of a myth compared to previous or subsequent versions. Innovations advanced in a play sometimes became so familiar that they came to be regarded as ‘standard’. Such examples include the condemnation and death of the protagonist in (...) Sophocles’ Antigone and, in all likelihood, Medea's filicide in Euripides’ Medea. (shrink)

Within the pantheon of the great television series of recent decades, "The Wire" (D. Simon & E. Burns, HBO, 2002-2006) undoubtedly occupies a prominent place for critics and audiences. “The Wire”, disguised as a police thriller, is a serial story that stands out for its cyclical structure, tragic archetypes and a choral look that makes the difference from the rest of current television content. Three characteristics (the corality, the tragedy, and the cyclical time) that make up the essence of (...) class='Hi'>Greek theater. And as soon as we start analyzing The Wire we see what is hidden in the characters and plots of one of the most prestigious series in history owe their essence to the cosmogony and Greek mythology, the root of all our culture. (shrink)

Jan N. Bremmer (J.N.B.) est incontestablement un historien des religions antiques parmi les plus productifs de ces quarante dernières années, qu’il s’agisse de l’étude du monde gréco-romain ou du christianisme antique, qu’il arpente avec une remarquable maîtrise des outils nécessaires à cette fin. Aux débuts du christianisme était consacré le premier recueil de ses travaux publié chez Mohr Siebeck, tandis que ce deuxième volume (qui n’est pas le second) rassemble, en trente chapitres, 35 arti...

In Philo of Alexandria and Greek Myth: Narratives, Allegories, and Arguments, a fresh and more complete image of Philo of Alexandria as a careful reader, interpreter, and critic of Greek literature is offered. Greek mythology plays a significant role in Philo of Alexandria's exegetical oeuvre. Philo explicitly adopts or subtly evokes narratives, episodes and figures from Greek mythology as symbols whose didactic function we need to unravel, exactly as the hidden teaching of Moses' narration (...) has to be revealed by interpreters of Bible. By analyzing specific mythologems and narrative cycles, the contributions to this volume pave the way to a better understanding of Philo's different attitudes towards literary and philosophical mythology. (shrink)

Classical Mythology in Context encourages students to directly encounter and explore ancient myths and to understand them in broader interpretative contexts. Featuring a modular structure that coincides with the four main components of a classical mythology course--history, theory, comparison, and reception--each chapter is built around one central figure or topic. Classical Mythology in Context provides: A sustained discussion of religious practices and sacred places that offers a key approach to the historical contextualization of Greek myths An (...) introduction to--and integration of--theoretical approaches to myth in each chapter that shows how these approaches affect the ways in which students understand myths and mythic figures Ample selections of primary sources, all from the Oxford World's Classics series A robust comparative approach examining Greek myths alongside other myths from the Mediterranean Basin and the Ancient Near East An approach to the reception of myths as interpretation and reflection in Western art, with an emphasis on contemporary culture An Ancillary Resource Center that includes PowerPoint-based lecture slides and an Instructor's Resource Manual A Companion Website that provides additional student and instructor resources FEATURES Compelling and relevant illustrations provide visual evidence for placing myths in context Abundant maps help students locate all sites in Greece, the larger Greek world, and the Ancient Near East A detailed Timeline for Greece, Rome, and the Ancient Near East helps students situate key works within their cultural and historical contexts "The Essentials": In Part I, these boxes appear at the start of each chapter, introducing students to the most essential information about a god or goddess and previewing that chapter's content. In Part II, they appear whenever a new hero or heroine is introduced. "Before You Read" section for each primary source and critical reading is prefaced with a brief contextual overview followed by questions that encourage critical thinking Paired chapters explore different aspects of a god, hero, or heroine, equipping students with analytical tools that can be applied to other topics A list of Key Terms at the end of each chapter helps students review and retain its most important points A "For Further Exploration" annotated bibliography at the end of each chapter provides a starting point for students who wish to learn more about the chapter's content A Select Bibliography at the end of the book, divided by chapter emphasizes scholarly works that are accessible to students A Combined Glossary and Index includes a pronunciation key, the Greek form, and brief description for all figures, places, and rituals in the text. (shrink)

'An extremely useful collection of the early evidence for writers of 'myth as history' -D. Felton, Bryn Mawr Classical ReviewThis is the first volume in a set of two. Volume 1 introduces and collects together the scattered quotations of the Greek writers of the sixth to the fourth centuries BC who first recorded in prose the tales of Greek mythology, whilst Volume 2 will be a scholarly commentary.

In the first chapter of my book Tradition and Originality in Plautus: Studies of the Amatory Motifs in Plautine Comedy, I have expressed the view that mythological hyperboles in which the Comic character asserts his superiority in one respect or another to a mythological hero, far from being a product of Plautus' own imagination, as suggested by E. Fraenkel, are a specifically Greek element, adapted by Plautus from his originals. Here I should like to draw attention to one particular (...) aspect of the pattern of thought in question, not dealt with in my book, which reinforces my argument and further underlines the traditional framework of which this pattern forms part. (shrink)

The exact nature of the relation between science and Scripture in the thought of Francis Bacon is a well-studied but controversial field. In this paper, it is shown that Bacon, though convinced that there exists no enmity between the book of God's wisdom and the book of God's power, usually tries to separate knowledge acquired by reason from knowledge acquired by faith. In his exposition of the principle of the conservation of matter, however, Bacon seems to find himself constrained to (...) invoke Scriptural truths in a manner that he usually disapproves of. In order to establish this principle, which is so essential to his overall scientific program, he appeals both to the Bible and Greek mythology in a way that points to certain conceptual tensions within his natural philosophy. (shrink)

Plato, as a poet, employs muthos extensively to express his philosophical dialectical development, so the majority of his dialogues are comprised of muthoi. We cannot separate his muthos from his philosophical thought, since the former has great influence in the latter. So the methodology of this paper is first to discuss the dialogue "Theaetetus" to find out why he compares Socrates to the Greek goddess Artemis; then his concept of Maieutikē will be investigated. At the beginning of Plato’s "Theaetetus", (...) Socrates first likens himself to the goddess Artemis, who, though unmarried, has a duty to assist women in labour. Socrates’ role, as Plato portrays, is the same as that of Artemis; and the technē he possesses is Maieutikē, which is to assist his students in giving birth to their mental offspring. This paper will focus on discussion on the Socratic mythological role in Platonic interpretation and dialectics so as to reveal the philosophical meaning of Socratic ignorance. (shrink)

Lewis Richard Farnell's five-volume The Cults of the Greek States, first published between 1896 and 1909, disentangles classical Greek mythology and religion, since the latter had often been overlooked by nineteenth-century English scholars. Farnell describes the cults of the most significant Greek gods in order to establish their zones of influence, and outlines the personality, monuments, and ideal types associated with each deity. He also resolutely avoids the question of divine origins and focuses instead on the (...) culture surrounding each cult, a position which initially drew some criticism, but which allowed him more space to analyse the religious practices themselves. Written to facilitate a comparative approach to Greek gods, his work is still regularly cited today for its impressive collection of data about the worship of the most popular deities. Volume 3 focuses on the cults of Ge, Demeter, Hades, and Rhea. (shrink)