The Argonautic Expedition: The First Worldwide Naval Epic

The Greek mythology is widely acclaimed as one of the richest treasures of universal epics; the myth of the Argonautic Expedition is one of the most interesting Greek myths. Some scientific authorities hold the opinion that the story of the Argonauts was no more than an inspiring fairy-tale, while others insist, it was a real historical event. They believe that it took place in 1225 BC, and Colchis was a country located in the Caucasus Mountains, near today’s country of Georgia. After a life-long study of more than thirty years using ancient texts and information coming from nautical maps and geography, oceanography and other fields of science, we propose that the real events were quite different from the currently proposed location. The Argonauts, and ancient Greeks at large, wanted to find a sea route to transport silk textiles and new species from the Far East countries to Greece or at least to open the Overland Route leading from the Black Sea to the Far East. In addition, they wanted to transport to Greece silkworm eggs to cultivate silkworms in Greece and produce silk. They started their journey from Iolcus and travelled around the Globe; they reached Colchis, Aeëtes' land that was actually China. They took from China eggs of the wild Silkworm instead of the real one and, sailing through the Indian Ocean, reached Suez, where they were forced to pull their ship across the land to reach Tritonis Lake. From there, they exited into the Mediterranean and arrived at Iolcus, the city from which they started their journey. That journey was made by the Argonauts around 1510 BC. Presently, giving a plethora of bibliographic references, we shall carefully attempt to expose the real events that happened during those ancient times under the mission code name "transporting the Golden Fleece to Greece". We shall say, who did this perilous feat, when and where it happened, what was the real purpose of the Argonauts’ journey, which were the correct routes followed carefully by the Argonauts, what were the countries they crossed or visited and finally what the Argonauts accomplished with that journey.

IN SEARCH OF LITERARY SOURCES OF DIALOGUE «DE CONSOLATIONE PHILOSOPHIAE» BY SEVERIN BOETHIUS

The paper examines the literature basic of Severin Boethius work «The Consolation of Philosophy». The author starts with the historical context of the appearance of the text and then goes to consider its variety of literary genres and forms. Main of them are satura Menippea, consolation, protreptic, soliloquy and dialogue. Textual and conceptual analyses have relieved the connection between Boethius’s «The Consolation» and the works of other famous authors of Antiquity among them there are Plato, Aristotle, Seneca, Cicero, and St. Augustine. As a connoisseur of Antiquity, Boethius uses literature to explain his philosophical ideas. In addition, the author of the article suggests an analytical review of the image of the Lade Philosophy in «Consolation». The genealogy of this literary character refers to the Greek mythology, Plato’s «Symposium» and «Crito» dialogues, Martianus Capella’s work «On the Marriage of Philology and Mercury» and Augustine’s the literary image of St. Monika. The article reconstructs an epistemological methodology of Boethius’s Neoplatonic dialogue that consists of five stages and describes a therapeutic role of philosophy in the traditions of Plato and Stoics. The essence of this role is a mind therapy. Philosophy teaches us to see the world as a whole, to describe it in clear notions and judgments. According to the text of «Consolation», Boethius takes us to make an intellectual Neoplatonic climbing from practical (ethic) to theoretical (metaphysic) philosophy – from vita activa to vita speculativa. The main aim or the top of this Neoplatonic meditation is a contemplative life or reminding own Ego. The great ideas of this work have the significant influence on Medieval and Renaissance philosophy and literature.

FROM PROMETHEUS TO AMRAN: ON THE CHAINED HERO IN THE OSSETIAN EPIC

В статье рассмотрен один из мотивов осетинского Даредзановского эпоса – мотив прикованного героя, еще в древности вошедший в мифологию, фольклор, литературу многих народов и получивший название «мотив Прометея». Образ Прометея относится к «вечным образам» мировой художественной культуры. История прикования и освобождения Прометея и в древнегреческой мифологии, и в трагедии Эсхила позиционируется как топонимически привязанная к Кавказу. Именно здесь сюжет о наказанном Богом и прикованном богатыре получил распространение в национальных мифах и эпических преданиях – грузинских, осетинских, кабардинских, абхазских, вайнахских, армянских и др. Эти лаконичные предания об Амиране-Амране, по мнению Вс.Ф. Миллера, – кульминационные во всех источниках, рассказывающих об этом герое. Рассмотрены как древнегреческий Прометей, так и кавказские, в первую очередь осетинские, прикованные герои, представленные в работах Вс.Ф. Миллера, Г.Н. Потанина, Дз. Гатуева, Д.А. Калоевой, З.Г. Тменовой, Ю.А. Дзиццоты, Х.Ф. Цгоева и др. Образ Амирана сравнивается с соответствующими ему героями кавказских эпосов. При всей схожести мотивов богоборчества и наказания героя прикованием к скале или столбу нельзя не отметить отличия осетинского Амирана от остальных. В Даредзановских сказаниях он героическая личность, истинный богатырь, совершающий множество подвигов, побеждающий великанов, помогающий всем нуждающимся. Сын племянницы Бога, герой близок к народу, он побеждает врагов не только ради демонстрации силы, ловкости, хитрости, но и для спасения родных и друзей. В отличие от большинства кавказских прикованных героев, освобождение Амирана не предвещает гибель мира, напротив, осетинский Амиран, в случае освобождения, даст людям свободу и счастье. Многие мотивы в преданиях об Амране соотносятся с мотивами Нартовского эпоса. Амиран-Амран приравнивается к любимым героям осетинской Нартиады – Сослану, Батразу, Урузмагу, Шатане. В работе его образ рассмотрен для подтверждения объективной закономерности подобной репрезентации осетинского героя. The article deals with one of the motives of the Ossetian Daredzanian epic − the motive of the chained hero, which in ancient times entered the mythology, folklore, literature of many peoples and was called the "Prometheus motive". The image of Prometheus belongs to the "eternal images" of world art culture. The history of the chaining and liberation of Prometheus, both in ancient Greek mythology and in the tragedy of Aeschylus, is positioned as toponymically tied to the Caucasus. It was here that the plot about the God-punished and chained hero became widespread in national myths and epic legends − Georgian, Ossetian, Kabardian, Abkhaz, Vainakh, Armenian, etc. These laconic legends about Amiran-Amran, according to Vs.F. Miller, are culminating in all the sources telling about this hero. Both the ancient Greek Prometheus and the Caucasian, primarily Ossetian, chained heroes presented in the works of Vs.F. Miller, G.N. Potanin, Dz. Gatuev, D.A. Kaloeva, Z.G. Tmenova, Yu.A. Dzizzoity, Kh.F. Tsgoev and others. The image of Amiran is compared with the corresponding heroes of the Caucasian epics. With all the similarity of the motives of fighting against God and the punishment of the hero by being chained to a rock or a pillar, one cannot fail to note the difference between the Ossetian Amiran and the others. In Daredzan's legends, he is a heroic person, a true hero who performs many feats, conquers giants, and helps all those in need. The son of the niece of God, the hero is close to the people, he defeats enemies not only for the sake of demonstrating strength, dexterity, cunning, but also to save family and friends. Unlike most of the Caucasian chained heroes, the release of Amiran does not portend the death of the world, on the contrary, the Ossetian Amiran, if liberated, will give people freedom and happiness. Many motives in the legends about Amran correlate with the motives of the Nartov epic. Amiran-Amran is equated with the favorite heroes of the Ossetian Nartiada - Soslan, Batraz, Uruzmag, Shatana. In the work, his image is considered to confirm the objective regularity of such a representation of the Ossetian hero.

The Digital Athena: Contemporary commentaries and Greek mythology explored through 3D printing

<p>Greek myth and art acted as tools to think with, and a lens through which to explore complex topics, like a form of social media. In particular, coins were a form of propaganda to communicate the wealth and power of the city-states they originated from as they circulated from person to person. Using these media as a starting point, how can the application of 3D printing technologies explore the infusion of ancient forms with contemporary commentaries to promote discussion? The digital reconstruction of artifacts is a topic that has been researched by various groups all over the globe. The exploration of Greek myth through objects infused with contemporary issues is currently unexplored in this medium. Using the Stratasys J750 3D printer - a multi-material, full-colour 3D printer - a series of coins inspired by ancient Greek currency and myth was created to present commentaries on the adversities surrounding individuals in the LGBT+ community. Using the J750 as the medium for expression allows for complete control and precision of the models to create complex, high-resolution iconography. A hard, translucent material was used to print the coins, with coloured 3D visuals embedded into the coins for viewing in close contact by the audience. These coins as commentaries present an avenue for broader understanding by drawing perspectives not only from sources concerned with the contemporary LGBT+ community but also from sources exploring ancient homosexuality and the perception and regulation of it in antiquity. By displaying what are usually points of contention between anti- and pro-LGBT+ parties, this visual medium opens up a discussion to both parties, suggesting heritage can play a vital interpretative role in the contemporary world.</p>

The Digital Athena: Contemporary commentaries and Greek mythology explored through 3D printing

<p>Greek myth and art acted as tools to think with, and a lens through which to explore complex topics, like a form of social media. In particular, coins were a form of propaganda to communicate the wealth and power of the city-states they originated from as they circulated from person to person. Using these media as a starting point, how can the application of 3D printing technologies explore the infusion of ancient forms with contemporary commentaries to promote discussion? The digital reconstruction of artifacts is a topic that has been researched by various groups all over the globe. The exploration of Greek myth through objects infused with contemporary issues is currently unexplored in this medium. Using the Stratasys J750 3D printer - a multi-material, full-colour 3D printer - a series of coins inspired by ancient Greek currency and myth was created to present commentaries on the adversities surrounding individuals in the LGBT+ community. Using the J750 as the medium for expression allows for complete control and precision of the models to create complex, high-resolution iconography. A hard, translucent material was used to print the coins, with coloured 3D visuals embedded into the coins for viewing in close contact by the audience. These coins as commentaries present an avenue for broader understanding by drawing perspectives not only from sources concerned with the contemporary LGBT+ community but also from sources exploring ancient homosexuality and the perception and regulation of it in antiquity. By displaying what are usually points of contention between anti- and pro-LGBT+ parties, this visual medium opens up a discussion to both parties, suggesting heritage can play a vital interpretative role in the contemporary world.</p>

Weaving Womanhood into Warfare: Gender-Hybrid Narratives of Amazons Penthesilea and Diana Prince

Largely rooted in ancient Greek essentialism, Western dichotomies of masculinity and femininity have been historically used to divide the sexes and limit women’s involvement in male institutions of power. The female warrior is an anomalous case. Fictional tropes of this type, especially the Amazons of Greek mythology, embody both masculine and feminine associations to exist in the separate spheres of womanhood and military heroism. Two transhistorical Amazons—Penthesilea (from Quintus Smyrnaeus’ Posthomerica) and Diana Prince (from the 2017 film Wonder Woman)—were analyzed to explore the evolution of Western perceptions on powerful women in traditionally male spheres of influence. Guided by gender and classics theories, a thematic and narrative analysis focusing on the characters’ gender hybridity (the combination of masculine and feminine distinctions) demonstrated new understandings: Penthesilea’s story demonstrates that hybridity in antiquity reinforced the hegemonic implications of gender essentialism. Diana’s modern hybridity empowers female success in male realms. Nonetheless, both narratives establish the difficulty of crossing gendered boundaries, as compromise and defeat accompany hybridity. Comparing ancient and modern adaptations of the Amazons reveals that while women’s presence in masculine spheres remains tentative in Western society, reimagined female warriors represent increasing acceptance towards women adopting hybrid roles in public expressions of power.

Who the hell is Hades? An examination of Hades' reception within modern film

<p>This thesis seeks to engage with modern receptions of Hades, the ancient god of the underworld, within the medium of film. Although reception studies encompasses a broad variety of themes and subject matters, filmic characterisation (especially that of a deity) is presently an under-represented topic. Hades’ unique persona provides further incentive for this study; not only does he hold an ambiguous position within antiquity but this is similarly echoed throughout much of Hollywood’s own history, up until the turn of the 21st century. Hades’ filmic persona has, however, received a revitalisation within modern blockbusters which draw their inspiration from ancient Greek mythology. With prominent appearances in the likes of Disney’s Hercules (1997), Percy Jackson and the Lightning Thief (2010), Clash of the Titans (2010) and Wrath of the Titans (2012), Hades has now become a staple character within the film industry. Hades’ recent stardom is not without issues. It appears that mass culture has freely refashioned Hades’ mythic persona in order to better fit a particular cinematic presentation, epitomised by Hades’ association with the Judeo-Christian Devil. I will argue, however, that the figure which has resulted does not have to be viewed as marking a rupture with classical thought but should be seen rather as a continuation of Greek mythological concerns. While this suggestion, following Martin Winkler’s theory of neo-mythologism, is not particularly original, I seek to explore it in an entirely new manner, highlighting the iconographical and narrative tropes which define Hades’ filmic persona. This requires a unique approach, one not yet found within contemporary scholarship. In drawing upon modern film theory for inspiration, this thesis seeks to engage with Hades’ reception while letting the medium in question shape the methodology. Such considerations should be fundamental to reception studies.</p>

Who the hell is Hades? An examination of Hades' reception within modern film

<p>This thesis seeks to engage with modern receptions of Hades, the ancient god of the underworld, within the medium of film. Although reception studies encompasses a broad variety of themes and subject matters, filmic characterisation (especially that of a deity) is presently an under-represented topic. Hades’ unique persona provides further incentive for this study; not only does he hold an ambiguous position within antiquity but this is similarly echoed throughout much of Hollywood’s own history, up until the turn of the 21st century. Hades’ filmic persona has, however, received a revitalisation within modern blockbusters which draw their inspiration from ancient Greek mythology. With prominent appearances in the likes of Disney’s Hercules (1997), Percy Jackson and the Lightning Thief (2010), Clash of the Titans (2010) and Wrath of the Titans (2012), Hades has now become a staple character within the film industry. Hades’ recent stardom is not without issues. It appears that mass culture has freely refashioned Hades’ mythic persona in order to better fit a particular cinematic presentation, epitomised by Hades’ association with the Judeo-Christian Devil. I will argue, however, that the figure which has resulted does not have to be viewed as marking a rupture with classical thought but should be seen rather as a continuation of Greek mythological concerns. While this suggestion, following Martin Winkler’s theory of neo-mythologism, is not particularly original, I seek to explore it in an entirely new manner, highlighting the iconographical and narrative tropes which define Hades’ filmic persona. This requires a unique approach, one not yet found within contemporary scholarship. In drawing upon modern film theory for inspiration, this thesis seeks to engage with Hades’ reception while letting the medium in question shape the methodology. Such considerations should be fundamental to reception studies.</p>

The Sound of Sirens: Siren Stelae in Classical Attic Cemeteries

<p>The aim of this thesis is to look at how and why the siren is featured in Classical Attic cemeteries and how its mythical characteristics lead to its appropriateness in such a context. The exact origins of the siren are unknown, although it has been suggested that they stem from the folk tales of sailors at sea, or shared ideas from other cultures. Despite such unknown variables, the siren figure that is considered in this thesis is that found in Greek mythology, frequently remembered for her encounter with Odysseus on his journey home from Troy and ability to enchant sailors with her irresistible song. Typically combining the features of a bird’s body and a woman’s head, the creature known as the siren can also be seen in ancient depictions on vases, jewellery boxes and female toilette objects. During the Classical Period (479-323BC) the bird-women hybrid sirens are used as a decorative feature on top of funerary stelae in Attic cemeteries. The siren can be seen in two different forms in the funerary context, specifically in relation to their placement and representation on stelae: relief images of the creatures in the roof sima of the upper register of the tombstone, and sculpted in the round perched on top. The presence of the siren in this context can provide a constant mourner as well as inviting the viewer to grieve for the deceased. The first chapter details the siren’s character and role in early ancient literature and art, specifically relating to their mythological corpus. Discussion will focus on the evolution of their character and their appearance over time, as well as identifying distinguishing features which make the siren a unique figure. It is also necessary in this section to establish a distinction between the siren and the mythological harpy who combines the similar bird-woman features to make up a very different creature (particularly evident in a commonly misnamed Lycian sarcophagus, the ‘Harpy tomb’.) The second chapter outlines the timeframe of the use and presence of funerary stelae featuring sirens in Attic cemeteries, predominantly found in the Kerameikos, with references to the legislation which may have affected them. This section covers examples of the presence of sirens in this context including, but not exclusive to, images in relief depicted in the roof sima, along with other figures, as well as the limited freestanding sculptures of sirens seen perched above stelae. I will also analyse the ‘traditional’ view of the sirens as ‘soul birds’ as suggested by various scholars, particularly those from the early 1900s. The final chapter looks at the appropriateness of the siren in a funerary context and attempts to identify the reasons why they were used for such a purpose. In order to answer these questions, it is important to look at the reception of these pieces by mourners and passers-by alike and the possible relationship between those that view the sculpture in such a setting and the piece itself.</p>