ROY CAMPBELL’S TURN TO MITHRAS: MODERNISM AND THE CLASSICS

Objectives Perceptions existed about epilepsy in the ancient Greco-Roman civilization, which is referred to as the primordial age of modern medicine. This study was conducted to explore the ideas of the ancient Greeks and Romans about epilepsy through an investigation of relevant myths that reflected their culture. Methods We used the keywords ‘Greek mythology,’ ‘epilepsy,’ ‘seizure,’ ‘Roman mythology,’ and ‘myth’ in English and Korean to search Google and PubMed for information on epilepsy and seizures in Greek and Roman mythology. Results The ancient Greeks regarded epilepsy as a "sacred disease," and considered it to be a punishment caused by the curses of various gods, especially the goddess of the moon, Selene or Artemis. The story of Cydippe deals with the illness caused by the curse of the goddess of the moon, and the features depicted in the story resemble the symptoms of epilepsy. Furthermore, the stories of Pythia, Hyacinthus, and Hercules seem to be metaphors for the symptoms of epilepsy. Conclusions The descriptions of epilepsy and seizures in Greco-Roman myths are diverse, and can be thought of as an accumulation of the ancients' perceptions and experiences of epilepsy. This can be interpreted from a medical point of view as underscoring the significance of epilepsy and seizures. Key words: Epilepsy; Seizure; Greek mythology; Roman mythology; Myth.

The contributions of mythical older adult figures to today’s vocabulary and literature were studied by assessing the perception of aging in the axis of older adult characters in Greek and Roman mythology. The narratives about older individuals and old age were studied using the “discourse analysis” approach, and the profound effects of ideas and perceptions in mythology today were explored. Aside from those shown as physically collapsed, unhappy, and dirty, as in the Geras example, Greek and Roman mythology is rich in images of aged people; there are also individuals such as Mentor, Silenus, and Chiron who are regarded to be knowledgeable, skilled, and experienced wise men. Furthermore, characters like Tithonus, Proteus, and Mentor, whose traits inspired and contributed terminologically to numerous fields such as medicine, nursing, psychology, and educational sciences, are crucial in illustrating mythology’s contributions to the modern age. Older adult characters in Greek and Roman mythology, such as Tiresias and Sbyl, rose to prominence due to their prophetic powers, demonstrating the link between old age and prophetic ability. In Greek and Roman mythology, older adult characters exhibit a wide range of complex qualities. For this reason, the older adults figures and discourse in Greek and Roman mythology contributed significantly to the studies of aging and scientific literature and revealed the origins of the aging perception in several ways. Examining this mythical discourse reveals its contributions to scientific language and the traces left in social memory.

Greek and Roman mythology has a very long history and profound cultural heritage. After thousands of years of inheritance and development, it has formed a very unique cultural connotation, which has become the light of civilization in the world and accompanied by the European Renaissance Movement. In-depth development has had a huge impact on the development of Western society and culture. To some extent, Greek and Roman mythology is the source of the European Renaissance. During the European Renaissance, Greek and Roman mythology appeared again in front of people. Its continuous spread and development have had a huge impact on the English language system. For comparison, the following is a comprehensive analysis of the influence and enlightenment of Greek and Roman mythology on English language and literature.

The purpose of this article is to analyze the transformation of European consciousness attitude to sensuality by means of European graphic arts of 17th–18th centuries. The perception of Ancient Greek and Roman mythological stories as moral emblems was an integral part of the inheritance that the Renaissance had left to the baroque consciousness. Myths were perceived within the framework of the cause-and-effect relation of sin and punishment. Any feeling was considered as an instrument of complying with the moral devoir or as a temptation to slide into sin. An euhemeristic approach to Ancient Greek and Roman mythology became very popular at beginning of 18th century. The popularity of this approach was connected to the rationalism of 17th century. Moreover, the euhemeristic approach and rococo style were two unseparable parts of one conception in a number of illustrated books. At that time, self-commenting of the image became symbolic, not moral. The works by G. Vico, J. Winkelmann and French Enlighteners gradually were preparing a radical change in the perception of the Ancient Greek and Roman mythology as an embodiment of human feelings. Antiquity began to be understood as the Other, with its own internal laws of existence. This change was reflected in the stylistics of the graphics and in the glorification of feelings. The main emphasis was moved from the inner purity of the characters to the plot of the illustrated myth. The emblematic approach to the Ancient Greek and Roman mythology disappeared almost completely after the end of French Revolution and the mythology gradually was becoming the object of professional studying. Ethics and human nature merge in a harmonizing synthesis of early Romanticism.

The evolution of agriculture and the agri-food industry can be studied from many sources, but one of the most exciting is to do it through painting. The first artistic representations appear in the Egyptian culture in the tombs of the pharaohs. Later Greek and Roman mythology is one of the great themes of European painting as these cultures have associated Mediterranean crops and their transformation to a protective deity. In Greek mythology, the God of wine was Dionysus and in Roman mythology he will know him as the god Bacchus. Mythological scenes have been abundant in classical painting, especially in Renaissance artists. Associating agricultural engineering and more specifically the different mechanical processes existing in winemaking and how these have been represented pictorially according to different ideological concepts has been a very broad and difficult challenge to address. Therefore, in this work we will see how they have been treated by medieval painters of the early modern age, the cultivation of the grapevine and the extraction of the grape juice, in three passages less known by our modern society: firstly the vintage and the winepress of the blessed, followed by the mystic winepress, the treading of the grapes in the master Wenceslao and how the evolution of the winemaking teams has been associated and their representation until our days to finally cease to be attractive for their representation. In the studied works we have observed how the technique and the existing equipment has lasted for many centuries in the medieval presses, but that if the symbolism and the iconography have been direct factors that conditioned the pictorial representation in the winemaking processes. Key Words: classic painting, wine engineering, enology, theology, mythology, mystic winepress, vintage, stepped pan, beam and quintal press, vertical press with double spindle, cellar, sacrament, iconography.

Encyclopedia of Greek and Roman mythology / , Encyclopedia of Greek and Roman mythology / , کتابخانه دیجیتال جندی شاپور اهواز

Modern poets, such as William Butler Yeats, Ezra Pound, William Carlos Williams, Edna St. Vincent Millay, and Rainer Maria Rilke, have used classical myths in a modern context to explain modern issues and to feed up from the rich material of Greek and Roman mythology. Denise Levertov takes the right of all authors to knock into the heart of Western and classical traditions and to reinvent them for her time. Though Levertov’s early poetry expresses her appreciation of nature and of the epiphanic moments of daily life, during the late 1960s her work became progressively concerned with political and social issues. She conveys her offense in poems of distress over Vietnam and of commonality with the alternative culture that opposed the war. Levertov insists upon the connectedness of public and private spheres. The Vietnam War was a major preoccupation of the youth movement of the 1960s, whose protests against it caused the occasional disruption of Levertov’s “A Tree Telling of Orpheus.” This paper aims to retell the Greek myth of Orpheus and his famous song of perception and revitalization, which includes all the aspects of life and rebirth, with a modern revision. Levertov compares the awaking trees captivated by Orpheus’s song along with the awakening of the revolutionary consciousness that lays at the heart of` the countercultural movement of the 1960s.

Masonic certificates have a fascinating and unique iconography. Many of the documents possess great artistic value. Other certificates, like the one drawn during the Napoleonic wars by a French prisoner of war in Okehampton, Devon, testify to how readily the language of Masonic symbolism was used and understood during this time. The spiritual, mystical and extremely eclectic character of Freemasonry presented a challenge for artists who tried to give the ideas of the Craft artistic form. It became their charge to develop a whole new iconographic system in order to present the unique social and moral identity of this fraternal society, and they drew their inspiration from sources as varied as Egyptian, Jewish, Christian, Greek and Roman mythology, religion and architecture.

Andrejs Papārde’s real name is Miķelis Valters (1874–1968), he was born and raised in Liepāja in a family of dock workers. Valters is a versatile personality – a Doctor of Juridical Science, a social worker, a politician and a diplomat with outstanding accomplishments in Latvian history. Valters was also an art theorist and poet. He signed his literary works with a pseudonym Andrejs Papārde. In literature, Papārde announces himself in the 1890s with works of short prose and reflections, later also with poetry. In book shape, his poetry is published after the 1905 Russian Revolution. He has three collections of poems published. The first collection of poems “Tantris” was published in 1908 in Helsingfors. The collection consists of little poems in short verses, without titles, but listed with roman numerals from one to eighty-nine. The poems are written in free verse, without rhymes, and they are characterized by allegoric expression and symbolic characters. The poetry is allegorically symbolic, with no specific place and time. The inflecting sound of verses is dominated by a pessimistic and depressive feel. The common gloomy atmosphere of the poems in the collections is formed by the imagery of pessimistic expressions, the dominance of the black colour and a severely dramatic sense of the world of the main character. The scenes with depressive characters capture the horror of a global apocalypse as well as the fear of an individual threat. The atmosphere of misery and hopelessness is created by grim stylistics and negative semantic characters. The very few characters of positive expression cannot dispel the overall dreary and sorrowful mood. Andrejs Papārde’s second poem collection “Ēnas uz akmeņiem” comes out in 1910 in Riga. The collection consists of seventy poems numbered with Arabic numerals. Interestingly, the pages are not numbered, thus only the number of a poem can be indicated in the references. All of the poems are of small scale, ranging from five to twelve lines, most of them are poems of six to eight short lines. All of the poems from the collection are without titles, written in free verse and without rhymes. The form of the poems is almost compressed to a maximum. The free verse and the intelligent dimension of the poems allow perceiving Papārde’s poetry similarly to Japanese haiku or tanka. Verses filled with depressive feelings in a way persist in his second collection of poems, however this time in not so unvaryingly dull manner and not so fatally obedient. More often, but not entirely levelled, optimistic tunes are played. The night continues to reign, there is still a lot of black colour, but more often there are mentionings of mornings. Notably, for expressing optimistic feelings, verbs are used in the future tense. Papārde’s second poem collection “Ēnas zem akmeņiem” ends on an optimistic tune, but that is certainly not a naive optimism of non-existing problems. Papārde’s third poem collection “Mūžība” subtitled “Mana dziesma” was published in 1914 in Helsingfors. Unlike in the previous collections, in this one, all of the poems have titles, and they are no longer numbered. The author consistently keeps writing in a rhymeless free verse. Almost like with inertia, there is still skepticism and disappointment. But there is much more confidence than before, the willingness to withstand difficulties, hard times, and there is hope for the tomorrow, for the “Easter morning”, for a new day. In this poem collection, Papārde and the main character slowly turn into an ambassador of light and an admirer of the sun, thus joining the many sun worshipers and the light announcers in Latvian literature. The character system close to romanticism, individual sovereign subjectivity, intimate sounding verses, dynamic use of abstractions and symbols are all associated with the 20th-century romanticism, or in other words, the neo-romanticism. The dominance of the pessimistic atmosphere differentiates this poetry as a depressive neo-romanticism or so-called catastrophic romanticism poetry.

It is wholly acknowledged that prior to the Turks’ conquest of Anatolia, this land was inhabited by diverse cultures and civilizations. Following its conquest, however, large segments of the various populations living in Anatolia continued to reside in their native homelands, indicating that the Turks lived together with these indigenous cultures for centuries. Greeks and Romans made up only one aspect of these various cultures. Although nowhere near as pervasive as their Persian and Arab counterparts, the cultures and mythologies of both the Greeks and Romans are discernible in Turkish culture, which is only natural after having shared the same homeland for many years in Anatolia and Europe. One such example is the occasional likening of a beloved’s hair to snakes in classical Turkish literature, reminiscent of Medusa’s own snake-like hair in Greek mythology. Indeed, the poems written in Greek by Mawlānā Jalāl al-Dīn Rūmī and Ahmed Pasha demonstrate that Turkish poets were not complete strangers to Western sources. After providing information about the three Moirai sisters known as the goddesses of fate in Greek and Roman mythology, this article will move on to address how they indirectly appear in classical Turkish literature.

In the 18th and 19th century of English literature, there were two generations of English Romantic poetry in Britain, who have produced great influences on the literature world. Those romantic poets were inspired more or less by the French Revolution, and advocated to the people to pursue beauty and inner freedom in nature or art. The most extraordinary features found in their poems are the abundant Greek and Roman mythological figures. But two generations of romantic poetry have shown different purposes in employing the Greek and Roman mythology, which needs further reading and exploration. The present study centers on the comparison of characters preference in poems between the two generations and shed light on the critical difference in their purposes and impacts.

THE character Bottom in Shakespeare's A Midsummer Night's Dream has been depicted in art many times1 and one of the most striking is in Henry Fuseli's painting Titania's Awakening.2 In this painting, the posture and facial features of the character Bottom bear a striking likeness to the Ancient Greek marble statue known as The Barberini Faun.3 In the Midsummer Night's Dream painting cycle4 by Fuseli the use of Ancient Greek and Roman mythology is evident. By setting the paintings in this type of dark and sublime style the paintings suggest an interpretation of the play which leads down into the darkest abyss of mythological sex and death. The most extensive catalogue of Fuseli's paintings is Gert Schiff's5 but this does not mention the Barberini Faun as a possible source for Fuseli's painting. The statue would have been known to both Fuseli and others because of its reputation. When it was discovered in the early seventeenth century it ‘won universal acceptance as a statue of the highest excellence’.6 It was also reproduced in catalogues of Greek and Roman art7 and later in biscuit porcelain in the later half of the eighteenth century which made it known throughout the European audience. In his most recent book Painting Shakespeare Stuart Sillars8 draws attention towards another Greek statue The Farnese Bull9 and links the story of Dirce and Amphion to that of Titania and Oberon. If we are to look at the interpretation presented by Fuseli, the character Bottom is darkened heavily by linking him to the Faun and the mythical environment surrounding him. By comparing these characters we might see that the similarities between the two are strongly sexual and intoxicated. The mythical Faun is not only linked with the nymphs and the female followers of Dionysus, but also the state of being part man and part animal.10 Both these characters show excessive sexual force. This has been noted by several scholars in the past and pointed to as most distinctive in regards to Puck.11 In some monographs from the mid sixteenth century,12 the character Puck was seen as a kind of devil of the wilderness or just another demon, in the comparison made by Fuseli it is not just Puck who is a demon figure of the wilderness but Bottom. The Faun in Greek mythology was a dark and lustful character who boasted of being the only creature to have slept with all of Dionysus’ female entourage. The sexuality implied by Fuseli, or rather in the Barberini Faun, does fit with the characterization of Bottom in the play. While he is in the forest with Titania he immediately succumbs to her sexual dominion over him and freely admits himself to the company of Titania's fairy court.

<p>Poetry is arguably the most ancient, direct and forceful genre of literature; whether written or oral. African’s foremost novelist and widely acclaimed father of literature, Nigeria’s Chinua Achebe, is mostly known for his prose works, especially the novel Things Fall Apart. Little comparatively, is known of his poetry. But the fact remains that Achebe is a good poet as he is widely recognized as a good novelist. Although the scale of preference tilts more to his prose works than poetry nevertheless; he made lasting impressions and remarks with his poems which are worthy of note. The collection, Beware Soul Brother exists to bear testimony on the personality of Achebe as a poet and what poetry achieves in society. Incidentally, his collection of poems, Beware Soul Brother is a veritable and worthwhile corpus of his characteristic package of Igbo lore, reminiscences, experiences and unique writing style; in the grand genre of poetry. Select poems in the collection make deft use of Igbo religious and cultural tenets which Achebe the poet masterfully weaves as muse, paradigm and cultural rooting in order to portray the Igbo cosmology and worldview. This paper explores his art and style in presenting the gods, totems and guiding ancestral wisdom of the rich, ancient lore of the Igbo. Select poems from the collection form the crux and illustrations of the thrust of this paper and demonstrates Achebe’s strong affinity with the cultural artefacts of his native custom. The implications of these in his culture are also predicated on his poems for effectiveness and to achieve a desired goal of portraying the poet as not just purveyor of his native custom and tenets but a crusader who preaches for social restoration and the need to mend walls and build bridges after years of war and wreckages.</p>

The scarce information we possess of Propertius’s life must be deduced almost completely from what the poet himself tells us in his works. His praenomen Sextus is attested by Suetonius in his vita of Virgil (31.3 Brugnoli/Stok). The date of his birth (50 bce, or rather some years before) can be deduced mainly from the fact that the poet tells us (4.1.131) that he received the toga virilis soon (mox) after he lost part of his family’s property in the land distributions of 41 bce. He himself names Umbria as his birthplace (1.22.9 and 4.1.63, 121ff.) and Assisi as his hometown, though the latter in a verse of doubtful authenticity (4.1.125). Yet there is epigraphic evidence that his family ranked among the local aristocracy of the city. He lost his father at an early age (4.1.127ff.). Though obviously destined from his family background for a political career, he chose to become a poet, and although his family fortunes were seriously impaired by the redistribution of land, he appears to have been able to lead a comfortable life among the jeunesse dorée of Rome. His first collection of poems appears to have been published in 29 bce and is dedicated to a certain Tullus, the nephew of L. Voilcatius Tullus, consul in 33 bce and proconsul in Asia in 30/29 bce. He later joined the circle of Maecenas, to whom Books 2 and 3 are dedicated. What is transmitted as Book 2 is probably a conflation of fragments from what were originally two books, published in the years 27 and 26 bce. Whereas Books 1 and 2 are almost exclusively dominated by love poetry dedicated to a pseudonymous women Cynthia (referring to the epithet Cynthius of Apollo; according to Apuleius’s Apologia 10, her real name was Hostia). Book 3, published not before 23 bce, opens up to a wider spectrum of topics—in particular, reference to Hellenistic models such as Callimachus and Philetas becomes more explicit. A profound influence of Horace’s Odes is also apparent. Propertius’s last book (4) must have been published after a considerable lapse of time. It contains poems composed probably between 20 and 16 bce. The poet announces in the introductory elegy that he is entering new terrain by composing etiological poetry and, in fact, the book—at first sight, a curious but well-arranged mixture of love poems and poems on Roman mythology and national topics.

카툰은 의미작용에 따라 유머 중심의 유머카툰과 풍자 중심의 풍자카툰으로 나눌 수 있으며, 만평은 풍자카툰의 범주에 놓을 수 있다. 특히 풍자카툰에서도 만평은 구체적인 대상과 비난을 표현한다는 점에서 카툰의 웃음보다는 비웃음을 잘 보여주는 장르이다. 웃음이 기쁘거나 즐거울 때, 또는 우스울 때 나타나는 표정이나 소리라면, 비웃음은 빈정거리거나 업신여기는 웃음의 표정이나 소리이다. 웃음이 따스하다면 비웃음은 차가운 느낌으로 다가온다. 이는 카툰이 인간의 희로애락에 중점을 두고 있는데 반해, 만평은 시사와 정치적 메시지 전달에 중점을 두고 있기 때문이다. 또한, 풍자카툰이 대상을 빗대어 비유하는 편이라면, 만평은 구체적인 대상을 빗대지만, 구체적인 글로 표기하여 비유하는 편이다. 풍자카툰 중에서도 특히나 만평은 비난에 가까운 비웃음의 대상에 대해 직설적인 공격을 한다. 만평은 대중들의 사회적인 관심에 적극 개입하는 특수한 위치에 있다. 현재진행형의 문제를 제기할 가치가 있다고 보는 정치 시사 경제에 대한 의견을 개진하기 때문에, 독자는 만평을 큰 어려움 없이 의미작용하게 된다. 한 예를 들면 만평을 구성하는 기호 중에 시사문제와 직접적인 연관의 글을 표기함으로써, 독자에게 구체적인 의미작용의 방식을 선호하는 편이다. 만평은 비유적인 그림과 구체적인 표기의 글을 함께 사용함으로써 작가의 의미작용이 독자의 의미작용과 일치할 가능성이 높아진다. 만화를 전공하는 학생들에게 카툰과 만평은 서사만화에 비해서 낯설고 이해시키기 어려운 장르이다. 학생들은 한 칸에 이야기를 담는 유머의 묘미를 이해하기 어려워하며, 시사문제에 관심이 없거나 꺼리는 다수 성향이 있다. 이 때문에 카툰과 만평을 효율적으로 교육하는 데 어려움이 있다. 본 연구는 카툰과 만평의 역사적인 분류나 정의를 찾기보다는 유머카툰과 풍자카툰의 관점에서 카툰과 만평을 비교하는 데 있다. 특히 유머와 풍자의 관점에서 공통점과 차이점을 찾아보는 데 목적이 있다. 이는 카툰과 만평의 교육적 효율을 올릴 수 있는 기반이 될 것이다. The accessibility and effect of cartoon on children are very significant. Since cartoon is a medium of conveying information through text and pictures, it has a characteristic of being easily approached by children than any other medium. Its accessibility to children is inevitably more exceptional than any other medium in the sense that it is a method of not only telling or reading stories but also showing stories. The main audience of <Greek & Roman Mythology in Cartoon> is children. It has a characteristic of being easily accepted by children since it's mythology seen in cartoon than read in text. However, gods conducts are full of unethical expressions. Sexual expressions of intermarriages between mother and son, between brother and sister and between uncle and niece, as well as extramarital intercourse are very unethical that could have negative effects on children. This study analyzed the unethical expressions of gods that could have negative effects on children at current point in time. Zeus was often unfaithful to his wife with many stories about the children of Zeus that were created from extramarital intercourse. Standard of value on rational decision has been established for adult readers, but children can readily accept things since they lack their own rational decision on what's right and wrong. As an alternative to children's uncritical observatory study, there is a need for author's intervention to help children form desirable values. The purpose of this study is to analyze the sexual expressions of Zeus and gods in <Greek & Roman Mythology in Cartoon> that could affect children's social study.