Mythology:

Assignments from Previous Classes
 

Norse Myth resources

Genealogy of the principle Norse gods just to help a little in keeping things straight.  At least it's not as bad as the Greek ones, and deities tend to keep the same parents (unlike the Mesopotamian ones).

Brief overview of key Norse myths  This is from Bullfinch's Mythology, which is quite antiquated now, but it gives a brief summary that might be helpful in approaching Sturlesson's Prose Edda.

Norse Myth Power Point

Quizzes: The reading quizzes are based on The Prose Edda and some draw on the Power Point.

• Norse Myth 1 Reading quiz
• Norse Myth 2 Reading Quiz
• Norse Myth 3 Reading Quiz

Assignment for Tuesday, Dec. 4

Reading:

• Prose Edda, , pp. 68-87 (note -- the page numbers are hard to find because this is a conversion of a print book to text.  They are in brackets throughout e.g.  [27] often right in the middle of a line)

To turn in: Norse Myth 3 Reading Quiz

Power Point: Norse Myth (same as last time's)

Class Preparation:

Connections with the present: 

• Ragnarok is "the end of the world as we know it."  How does Ragnarok compare to modern ideas of apocalypse, the end of the world, what the destruction is like, what the world afterward is like ... You might consider modern media (TV shows, movies, etc.)., Note similarities and differences relative to Norse myth in:

  • the qualities of the "destroyed" or post-apocalyps world

  • the ways in which the destruction came about (lead-up to it, effects on human civilization)

  • whether the destruction is ultimately reversable and whether the earth can be
    saved" or renewed

  • who is fighting/surviving/rebuilding in the post-apocalyps world.

Assignment for Thursday, Nov. 29

Reading:

• Prose Edda, pp. 35-68 (note -- the page numbers are hard to find because this is a conversion of a print book to text.  They are in brackets throughout e.g.  [27] often right in the middle of a line)

To turn in: Norse Myth 2 Reading Quiz

Power Point: Norse Myth (same as last time's)

Class Preparation:

Texts and Analysis

• Loki is one of the more enigmatic of the gods, in that he is part  giant, father of some of the monsters who bring about the world's ultimate destruction, and yet seems to be considered one of the gods, whom he both helps and harms.  Given this:

• How does Loki compare to other trickster figures (such as Hermes and Prometheus) in elements such as his creative actions, his punishment for his "tricks," his facility with lies and disguises, his role relative to the other gods?

• Loki passes between worlds (mainly, the world of giants and the wolrd of gods) and often seems to be traveling in service of a ruse or its consewuences.  Is he a liminal deity in the same way some of the Greek gods we observed (e.g. Artemis, Hermes, Dionysus, Aphrodite) are?

Assignment for Tuesday, Nov. 27

Reading:

• Prose Edda, pp. 13-35 (note -- the page numbers are hard to find because this is a conversion of a print book to text.  They are in brackets throughout e.g.  [27] often right in the middle of a line)

•  Genealogy of the principle Norse gods just to help a little in keeping things straight.  At least it's not as bad as the Greek ones, and deities tend to keep the same parents (unlike the Mesopotamian ones)

• Brief overview of key Norse myths  This is from Bullfinch's Mythology, which is quite antiquated now, but it gives a brief summary that might be helpful in approaching Sturlesson's Prose Edda.

To turn in: Norse Myth 1 Reading quiz

Writing Assignment due: Persephone and Inanna Writing Assignment)

Power Point: Norse Myth

Class Preparation:

Modern connections: 

• Google images of Thor and Odin are good choices -- the results will mainly be modern.  Compare them with the (very few) images of these deities taht

• To what extent do these representations align with what you have seen of the gods in primary sources so far? 

  • What specific traits do the modern illustrations emphasize? 

  • Is there a pattern to where differences appear (if they do)?

Texts and Analysis

• What processes lead to the creation of the world?  Compare to other creation stories we have studied or that you know.

• What is the relationship between the gods and the giants?  What differentiates them from each other?

• What does the Norse mythic world look like?  Could it be drawn or mapped?

Assignment for Tuesday, Nov. 20

Reading: Gilgamesh 5-11

Due: Gilgamesh 1-4 RQ and Gilgamesh 5-11 RQ

(Due Tuesday Nov. 27: Persephone and Inanna Writing Assignment)

Power Point:

• Mesopotamia Power Point

Texts and Comparisons:

Continue with previous topics for discussion, and ...

Go over the Gilgamesh Hero Comparison.  This is an exercise that is meant to get you thinking about the ways in which the Gilgamesh story relates to the Greek hero stories we have discussed.  There are no right answers, just questions/comparisons that sput thinking about the nature of Gilgamesh as hero and the significance of his quest and other accomplishments.

Babylonian and Sumerian Terms and Names:

NOTE: Inanna's Descent is Sumerian and Gilgamesh is Babylonian, but the pantheons are essentially the same, though some names are substantially different.  If the same god appears in both works, I will give the Sumerian name first, and the Babylonian name in parentheses.

Sumerians: The people who inhabited the Fertile Crescent whose cities flourished in the 3000's -100's BCE

Babylonians:  The people who inhabited and dominated this area following the Sumerians from the 1000's BCE until the 700's BCE

Cuneiform: the wedge-shaped writing they used, in which the texts used in this section of the course are preserved

Inanna (Ishtar): Goddess of love, sex, sometimes warfare and the communal storehouse, patron deity of unmarried women, wife of Dumuzi; one of the most significant deities in the Sumerian Pantheon though less important (and more destructive) in Babylonian mythology

Dumuzi: Her husband, a shepherd, most significant as her consort

Utu (Shamash): The sun god, brother of Inanna (Ishtar), often defender of the masculine principle (Utu saves Dumuzi, Shamash helps Gilgamesh); Shamash is particularly a god of justice

Enki: God of wisdom, close to Inanna although she stole the me from him

Enlil: Chief among the gods

Nanna (Sin): The moon god, father of Inanna (Ishtar) and Utu (Shamash)

me: the powerful tokens of rule that Inanna won for her city of Uruk, representing the blessings of the natural and civilized worlds

Ereshkigal: Inanna's sister, goddess of the underworld

Ninshubur: Inanna's "executive assistant"

Uruk: Home city of Inanna, and city over which Gilgamesh is king

Gilgamesh: king of Uruk, 2/3 mortal and 1/3 god but also subject to death

Ninsun: Gilgamesh's mother, a minor goddess who is close to Shamash and takes a direct interest in Gilgamesh's fortunes

Enkidu: the "Wild Man" created by the gods to become Gilgamesh's friend and alter ego

Humbaba: Superhuman creature the gods have set out to guard the cedar forest

Dilmun: the Sumerian/Babylonain equivalent of Eden, a land beyond time

Utnapishtim: the Sumerian Noah, who survived the Flood with Enki's help and achieved immortality

Siduri: the "barmaid at the end of the universe" and avatar of Ishtar

Assignment for Thursday, Nov. 15

Reading: Inanna's Descent; Gilgamesh 1-4

Due:Inanna Reading Quiz; (Gilgamesh 1-4 RQ and Gilgamesh 5-11 RQ will be due Tuesday but you may want to start Gilgamesh 1-4 now)

(Due Tuesday Nov. 27: Persephone and Inanna Writing Assignment)

Scroll down for Babylonian and Sumerian Terms and Names:

Power Point:

• Mesopotamia Power Point

Texts and Comparisons:

Inanna Focus Questions:

Use this sheet to focus your reading and preparation for class discussion.  We will spend some time discussing these in groups and possibly (time allowing) together as a class.

Gilgamesh Focus Questions:

• What is the nature of Gilgamesh's relationship to his mother?  Is it anything like the relationship of Achilles and Thetis?

• Enkidu is a wild man who is converted to  human ways.  Is this a good thing or a bad thing, as it appears in the story?  What aspects of culture transform him, and what is the mythic rationale behind them?

• Gilgamesh, like other heroes (e.g. Achilles) is partly defined by his friendship with Enkidu.  What are the dynamics of that friendship?

Terms and Names: Scroll down for a list of key terms and names, with brief definitions.

Assignment for Tuesday, Nov. 13

Reading:

• Theseus  (M&L 23)

• Jason and the Argonauts (M&L 24)

Reading Quiz;

• Theseus  (M&L 23)

• Argonauts (M&L 24)

Power Point:

• Theseus

• Argonauts

Preparation

We will approach the myths of Theseus and those of the Argonauts through comparison:

1. What are the similarities and differences between Heracles and Theseus?
2. Both Odysseus and Jason have aminly sea-centered adventures, and both of them encounter magically powerful females (in fact Circe is MEdea's aunt).  In what ways do (a) these heroes and (b) their ocean adventures differ?  In what ways are they similar?

Terms and Names (Theseus)

Terms and Names (Argonauts)

Texts and Comparisons:

Be prepared to compare Herakles to Odysseus in class.  Consider elements such as:

• importance of familial relationships

• succes of familial relationships

• nature of his exploits (you may compare one or two specifically that either show parallels or differences between the two heroes' exploits

• role of the gods/god in causing their suffering

• role of a god or gods in their success

• adherence to moral standards

• results of any straying from moral standards

• times in which the hero is or seems to be at rock bottom, and what that consists of

• differences in how that hero is portrayed in different circumstances

Terms and Names (Heracles)

Assignment for Tuesday, Oct. 30

Reading:

• The Returns (M&L 20)

Reading Quiz: The Returns (due Thurs. Nov. 1)

Power Point:

• The Returns

Texts and Comparisons:

A: Heroes

Prepare the Hero sheets handed out on Thursday, and be prepared to discuss your findings about your hero.

B. The Returns

Below  are two opposing perspectives on Odysseus and the Odyssey.  Pick one and be ready to support your point in class discussion. (We may end up doing this next time.)

1.  Odysseus' main accomplishment as a hero is to make it home and re-establish his identity there.  All of his adventures in the outside world are significant in the kinds of obstacles to "coming home" they present, and by how they help or hinder him in this goal.

2. Odysseus' main accomplishment as a hero is to establish his identity through his own heroic actions.  He must have a complete (and heroic) identity before he returns to a settled life, and he accomplishes this by surviving all kinds of challenges to the human condition.

Terms and Names (Trojan War)

Terms and Names (Returns) 

Assignment for Thursday, Oct. 25

Essay Due

Reading:

• The Trojan War (M&L 19)

• begin The Returns (M&L 20)

Reading Quiz: The Trojan War (due Tuesday Oct. 30)

Power Point:

• Trojan War
• The Returns

Preparation:

Connections with the present: Hero ethos

• The Iliad is full of Greek warriors acting according to a heroic code we are not very familiar with.  Read about it in the power point, then consider:  Do we have an agreed-upon heroic code relative to war?  What does it say about:

  • loyalty to comrades/fellow soldiers

  • the potential for fame and reputation

  • individual needs vs. group needs

  • trust in leaders vs. individual action

  • role of one's country in determining behavior in war

  • other key factors

• Also -- is this code maintained in the popular media, and if so, is it realistic to the actual conditions of warfare (to the extent a non-combatant can tell)?

• BTW for anyone wanting an interesting comparison of ancient and modern war conditions and codes of behavior, try this chapter of Achilles in Vietnam.

Assignment for Tuesday, Oct. 23

Reading:

• The Trojan War (up to the Iliad section)

• review The Mycenean Saga (M&L 18)

Quiz: on concepts and their applications

Reading Quiz: The Trojan War (This will be due on Thursday; the link will be up Monday)

Power Point:

• Mycenean Saga
• Trojan War

Preparation:

Connections with the present: Family problems. 

• Compare the family closeness and hatred in the Theban Saga and the Mycenean Saga.  Where are the main points of conflict?  (Husband-wife, father-son, brother-brother, mother daughter, etc.)  Are they similar to those you would find today, especially the ones that appear in our popular media?

Texts and Comparisons:  Approaches to the Mycenean Saga:  

We're taking the same approach as with the Theban Saga: everyone is assigned to a group below (on a different theme from the one you had in the Theban Saga).  Read the literature of the Mycenean Saga in the light of your topic -- where do your themes and dynamics occur, and how important are they to the action?  Are they straightforward or ambivalent?  What examples most reflect your theme/dynamic in the myths and literature surrounding them?

Theme 1: Fate.  (Rafael, Kristina, Olivia, Louis, Dan, Pedro, Sharon)

• What is the role of fate in the Mycenean Saga? 

• What happens when humans set out to outwit fate? 

• Are the gods behind fate or is it something independent of divine control? 

• How central is fate to the events that unfold in this saga? 

• If something is fated, does that provide a moral excuse for the person who was fated to perform terrible deeds?

Theme 2: Curse and Miasma.  (Bryan, Trip, Christopher L., Matt M., Britany, Chris S.)

• How central are the concepts of curses (as in, a curse placed on an individual or family by someone who has been wronged) on the events of the Mycenean saga? 

• What about the less serious but still potent factor of individual malevolence toward someone else? 

• Where is the motif of miasma (pollution) a motivator or theme in the story? 

• How do those affected by miasma "get" it? 

• What can be done to "treat" it if anything? 

• Is there any moral implication about who suffers this pollution, or can anyone regardless of thier moral worth become polluted? 

Theme 3: Hamartia (Fatal Flaw).  (Samantha, Samuel, Abby, Mary Chesnut, Grace, Jared)

One principle of Greek drama is that the chief character has a fatal flaw (hamartia, literally "missing the mark") that causes his or her downfall and all of the complications and sufferings of his/her situation. 

• Do the main characters of the Mycenean saga have fatal flaws? 
• If so, what are they? 
• Do any of them share the same flaws? 
• Is there a moral element in them that makes them flawed, or is the flaw simply what makes things happen badly without a sense of moral judgment attached?

Theme 4: Family.  (Julie, Matt K., Nick, Angela, Jon, Sarah)

• How do family members relate to one another in the Mycenean Saga? 
• Choose a few examples of relationships between family members and explore the nature of that relationship and what it means about the nature of human, family, and civic life. 
• How important to the Mycenean saga is the motif of family relationships, and in what ways is it important?

Terms and Names (Mycenean Saga)

Quiz on concepts and their applications:

I will give you some of  the following terms and ask you to apply them to some of the mythic situations we have studied so far. The questions will be in the form of "which is an example ox [term]" or "which is NOT an example of [term]."  Most of these are in the glossary but others are defined in M&L (esp. chapter 1).

Concepts:

• archetype
• ate
• etiology
• expiate/expiation
• hamartia
• hubris
• kairos
• liminality (i.e. a liminal situation)
• miasma
• mystery cult
• motif
• nemesis
• personification
• timê
• trickster
• xenia
• xenos

Assignment for Thursday, Oct. 18

Reading: The Mycenean Saga (M&L 18)

To Turn in: M&L Chapter Quiz 18

Preparation:

Connections with the present: Family problems. 

• Compare the family closeness and hatred in the Theban Saga and the Mycenean Saga.  Where are the main points of conflict?  (Husband-wife, father-son, brother-brother, mother daughter, etc.)  Are they similar to those you would find today, especially the ones that appear in our popular media?

Texts and Comparisons:  Approaches to the Mycenean Saga:  

Texts and Comparisons:

This is still on the Theban Saga; our parallel discussion on the Mycenean Saga will be Tuesday

Our main discussion topic: different approaches to the Theban Saga.  Everyone is assigned to a group below.  Read the literature of the Theban Saga in the light of your topic -- where do your themes and dynamics occur, and how important are they to the action?  Are they straightforward or ambivalent?  What examples most reflect your theme/dynamic in the myths and literature surrounding them?

Theme 1: Fate.  (Julie, Bryan, Samantha, Brittany, Chris S., Jared, Jon)

• What is the role of fate in the Theban Saga? 

• What happens when humans set out to outwit fate? 

• Are the gods behind fate or is it something independent of divine control? 

• How central is fate to the events that unfold in this saga? 

• If something is fated, does that provide a moral excuse for the person who was fated to perform terrible deeds?

Theme 2: Curse and Miasma.  (Louis, Pedro, Angela, Abby, Mary Chesnut, Sarah)

• How central are the concepts of curses (as in, a curse placed on an individual or family by someone who has been wronged) on the events of the Theban saga? 

• What about the less serious but still potent factor of individual malevolence toward someone else? 

• Where is the motif of miasma (pollution) a motivator or theme in the story? 

• How do those affected by miasma "get" it? 

• What can be done to "treat" it if anything? 

• Is there any moral implication about who suffers this pollution, or can anyone regardless of thier moral worth become polluted? 

Theme 3: Hamartia (Fatal Flaw).  (Kristina, Trip, Christopher L., Nick, Matt K., Britany)

One principle of Greek drama is that the chief character has a fatal flaw (hamartia, literally "missing the mark") that causes his or her downfall and all of the complications and sufferings of his/her situation. 

• Do the main characters of the Theban saga have fatal flaws? 
• If so, what are they? 
• Do any of them share the same flaws? 
• Is there a moral element in them that makes them flawed, or is the flaw simply what makes things happen badly without a sense of moral judgment attached?

Theme 4: Family.  (Rafael, Olivia, Samuel, Matt M., Dan, Sharon, Grace)

• How do family members relate to one another in the Theban Saga? 
• Choose a few examples of relationships between family members and explore the nature of that relationship and what it means about the nature of human, family, and civic life. 
• How important to the Theban saga is the motif of family relationships, and in what ways is it important?

Assignment for Tuesday, Oct. 16

Reading:

• Introduction to M&L part 2 and M&L Chapter 17: The Theban Saga

To Turn In:

• M&L Chapter Quiz 17

Power Point:

• Theban Saga Power Point   (includes hero pattern)

Connections with the present: hero stories and their patterns. 

• Choose some heroes from the modern era (in real life or in fiction) and be ready to discuss how well they fit into the "hero pattern" outlined in ML (beginning of the heroes section of the book) and the Power Point linked below.  Where is the hero pattern helpful in understanding their lives or accomplishments, and where is it not?

Texts and Comparisons:

Our main discussion topic: different approaches to the Theban Saga.  Everyone is assigned to a group below.  Read the literature of the Theban Saga in the light of your topic -- where do your themes and dynamics occur, and how important are they to the action?  Are they straightforward or ambivalent?  What examples most reflect your theme/dynamic in the myths and literature surrounding them?

Theme 1: Fate.  (Julie, Bryan, Samantha, Brittany, Chris S., Jared, Jon)

• What is the role of fate in the Theban Saga? 

• What happens when humans set out to outwit fate? 

• Are the gods behind fate or is it something independent of divine control? 

• How central is fate to the events that unfold in this saga? 

• If something is fated, does that provide a moral excuse for the person who was fated to perform terrible deeds?

Theme 2: Curse and Miasma.  (Louis, Pedro, Angela, Abby, Mary Chesnut, Sarah)

• How central are the concepts of curses (as in, a curse placed on an individual or family by someone who has been wronged) on the events of the Theban saga? 

• What about the less serious but still potent factor of individual malevolence toward someone else? 

• Where is the motif of miasma (pollution) a motivator or theme in the story? 

• How do those affected by miasma "get" it? 

• What can be done to "treat" it if anything? 

• Is there any moral implication about who suffers this pollution, or can anyone regardless of thier moral worth become polluted? 

Theme 3: Hamartia (Fatal Flaw).  (Kristina, Trip, Christopher L., Nick, Matt K., Britany)

One principle of Greek drama is that the chief character has a fatal flaw (hamartia, literally "missing the mark") that causes his or her downfall and all of the complications and sufferings of his/her situation. 

• Do the main characters of the Theban saga have fatal flaws? 
• If so, what are they? 
• Do any of them share the same flaws? 
• Is there a moral element in them that makes them flawed, or is the flaw simply what makes things happen badly without a sense of moral judgment attached?

Theme 4: Family.  (Rafael, Olivia, Samuel, Matt M., Dan, Sharon, Grace)

• How do family members relate to one another in the Theban Saga? 
• Choose a few examples of relationships between family members and explore the nature of that relationship and what it means about the nature of human, family, and civic life. 
• How important to the Theban saga is the motif of family relationships, and in what ways is it important?

Assignment for Thursday, Oct. 11

Midterm!

MIDTERM REVIEW GUIDE

Assignment for Thursday, Oct. 4

Liminal Deities writing assignment due

Reading:

• M&L Chapter 16: Orpheus and Mystery Religions

To Turn In:

• M&L Chapter Quiz 16

Power Point:

• Orpheus

Film Clips

• Orpheu Negro 1: Opening; preparations for Carnival
• Orpheu Negro 2: Orpheus and his Apolline song in the Dionysiac environment
• Orpheu Negro 3: Orpheus in two different aspects of the underworld after Euridice dies
• Jean Cocteau's Orphee: Into the Underworld

Class Preparation:

Connections with the present AND Texts and Comparisons:

We will continue with the discussions from last time's discussion. To help organize your thoughts and focus on issues, here's a chart to use in conjunction with the questions/areas for comparison posed below.

For the topics for comparison, go to the assignments from previous classes.

We will also look at the differences between mystery religions and other forms, in our world and in the Greek world.

Terms and Names

Liminal Deities Writing Assignment

We have so far encountered for gods/goddesses (Aphrodite, Artemis, Hermes, and Dionysus) who could be considered "liminal" deities in that they preside over human transitions into alien places or states of mind.  Choose two of these gods and discuss their liminal aspects, and how these aspects appear in the narrative myths about them.  How are they similar / different in their relationships with humans?  Support your arguments with specific references to primary sources, citing the source parenthetically; use at least one quote in making your point.

Assignment for Tuesday, Oct. 2

:Reading:

• M&L Chapter 15: Views of the afterlife

To Turn In:

• M&L Chapter Quiz 15

Power Point:

• Views of the afterlife

Class Preparation:

Connections with the present AND Texts and Comparisons:

There are a number of different view of the afterlife expressed by different elements of the Greek world, represented by the traditional Homeric view, the view held by initiated of the Eleusinian mysteries, the ideas about reincarnation held by the Pythgoreans and put forth by Plato, and the ideas of atomists such as Demosthenes (see power point).  Considering this diversity, consider one or more of these Greek afterlife views in tandem with a similar view of the afterlife from a modern perspective with which you are familiar.  Consider such elements as:

• Are there multiple afterlives, or is it a universal? 

• Who goes there (or to what part of it)? 

• Is there a moral component in what happens to the soul after death? 

• Does what happens to the physical body make a difference in what happens in the afterlife?

• Is the afterlife a permanent home for the dead or are there other potentials for the soul?

• Is the soul an enhanced version of the living person?  A diminished version?

• Is there a single soul, or are there more or fewer remnants of the living person? 

• Do the dead have special powers that the living do not?

• Is it possible to communicate with the dead? 

• Are there ghosts and if so, how and why? 

• What happens to animals? 

We'll discuss in groups initially, then come together for further discussion and application to the mainstream mythologizing of the received tradition.

Class Plan:

•  iconography of the afterlife
• Discussion  of ancient/modern afterlives

Assignment for Thursday, Sept. 27:

Reading:

• M&L chapter 14 (Demeter and Eleusis
• Review M&L 13 (Dionysus)

To Turn In:

• M&L Chapter Quiz 14

Power Point:

• Demeter and Eleusis

Class Preparation:

(1) Dionysus:  Recap of the discussion about Pentheus and Dionysus.  We will make up a class list of characteristics, philosophies, and key moments in the conflict that define its nature.

(2)  Demeter and Persephone:  Be prepared to discuss the following aspects of the Homeric Hymn to Demeter:

• etiological elements
• commentary of social and familial interactions  (such as motherhood, paternal vs. maternal rights, marital relationships)
• significance as a metaphor or commentary on life, death, and life after death (consider the Eleusinian Mysteries)

Assignment for Thursday, Sept. 27:

Connections with the present:  In groups and then as a class, we will compare any   

Demeter and Persephone:  Be prepared to discuss the following aspects of the Homeric Hymn to Demeter:

• etiological elements
• commentary of social and familial interactions  (such as motherhood, paternal vs. maternal rights, marital relationships)
• significance as a metaphor or commentary on life, death, and life after death (consider the Eleusinian Mysteries)

Assignment for Tuesday, Sept. 25:

Reading:

• M&L chapter 13 (Dionysus)

To Turn In:

• M&L Chapter Quiz 13

Power Point:

• Dionysus

Class Preparation:

(1) Intro to Hermes; class discussion on Hermes and Artemis as liminal deities.

(2) Our study of Dionysus will focus on The Bacchae by Euripides.  Each person will be assigned either Pentheus or Dionysus (see below).  (Of course, if you are into it you can do the other character as well.)  We will discuss in groups that have some people assigned to each character.  For your character, your goal is to be ready to talk about the following issues:

• What are your character's good points?
• What are his weaknesses?
• How would you describe his "personality" (as depicted by Euripides)?
• Does your character behave in ways that violate the ideas of "know yourself" and "nothing in excess," and if so, what are they?
• Does this behavior (if there is any) constitute wrongfulness or stupidity or arrogance or good sense or courage (etc.) or any other particular virtue or failing? 
• What right does your character have to do the things he does in the play?
• What is your character's interpretation of wisdom?
• What life lessons or insights into human existence, the nature of the gods, etc., does your character reveal?

Assignments:

Dionysus: Julie, Bruan, Kristina, Trip, Samuel, Matt K., Dan, Christopher L., Brittany, Sharon, Mary Chesnut, Chris S., Grace

Pentheus: Rafael, Chris C., Samantha, Olivia, Louis, Nick, Matt M., Pedro, Angela, Abby, Jared, Jon, Sarah

Terms and Names

Hermes

Dionysus

Assignment for Thursday, Sept. 20:

Note: Extension on Source and Citation paper till Tuesday Sept.25.

Reading:

• M&L chapter 11 (Apollo)
•  M&L Chapter 12 (Hermes)

To Turn In:

• M&L Quiz Chapter 11
• M&L Quiz Chapter 12

Power Point:

• Apollo
• Hermes

Primary Sources and Comparisons: Artemis and Apollo

Review the Homeric Hymn to Artemis and consider what aspects of personality and powers come out -- what is the essence of Artemis as seen here?

Using the list of areas of comparison listed below, choose 5-8 areas in which to compare Artemis and Apollo, bringing out key similarities and differences.  Refer to myths/iconography where possible to illustrate your observations.

• gender
• love life
• parentage and birth
• life-oriented powers
• death-oriented powers
• relationship to nature
• relationship to culture
• use of bow
• celestial associations
• personality
• relationships with humans (positive)
• relationship with humans (negative)
• temperament
• appearance
• companions
• closeness with other deities
• important rituals
• types of offerings and when/why given
• association with medicine
• etc. ...

NOTE: You should be able to refer to a specific myth or myths (or at least places in the text) to elucidate your comments.

Connections with the Present:

• Apollo and Artemis tend to be merciless to those who oppose them.  Are all the gods this way?  What makes these stories particularly central to the myths of the twins?  What are our views of divine mercy and divine punishment?  What different ideas of deity do you see in these or any other stories you know about divine wrath or favor?

Apollo:

Assignment for Tuesday, Sept. 18:

NOTE: if you're having problems locating material from previous classes, the Assignments From Previous Classes link below takes you to all of them.

Reading:

• M&L chapter 10 (Artemis)
• Review M&L Chapter 9 (Aphrodite and Eros)

To Turn In:

• M&L Quiz Chapter 10 (Artemis)

Power Point:

• Aphrodite
• Artemis

Connections to the present:

• We have already talked about the aspects of the ocean -- think in similar terms about aspects of the wild.  What are our views of nature and human relationships with it?  What views of nature do you see exemplified in the figure of Artemis?

Primary Sources and Comparisons:

• How does the character and nature of Artemis appear in the sources?  Is it consistent across time and genre?

  • The Homeric Hymns to Artemis

  • Ovid's stories of Actaeon and Callisto

  • Selections from Euripides' Hippolytus

Terms and Names

Aphrodite & Eros

Artemis

Assignment for Thursday, Sept. 13:

Reading:

• M&L Chapter 9 (Aphrodite and Eros)

To Turn In: Chapter 9 quiz

Due at the beginning of class: Arachne writing assignment  Note: This counts the same as a quiz grade but is an important lead-in to the Source and Citation Exercise)

Discussion Questions:

Connections to the present:

In Greek myth, Eros and Aphrodite can represent many different aspects of love.  Do we have a similarly complex view of love?  Are there kinds of relationships that are "love" in the Greek view but not in ours, or vice-versa?

Primary Sources and Comparisons:

• Compare the relationships of Aphrodite with Adonis, and with Anchises as portrayed in the Homeric Hymn to Aphrodite.  Consider elements such as:

  • Is she fully in charge of the situation?

  • Is she motivated by love or by a purely physical attraction?

  • How are Aphrodite's feelings for her lover described?

  • How does the affair end?

  • What feelings about the affair and/or lover does she express, either through her words or her actions?

  • What is the result of this love affair?

  • Is there an etiological element?

• In what ways is "Cupid and Psyche" like a fairy tale?  Does it have deeper meaning taht arises from the presence of Eros, who is such a complex god (as witness the speakers in Plato's Symposium)?

Power Points:

• Aphrodite

Arachne Writing Assignment:

Topic: Write a 1-2 page paper on Ovid's account of Minerva (Athena) and Arachne, including the following elements:

• its etiological element
• its commentary on human behavior, right and wrong
• its perspective on the relationship between gods and mortals

Method:

• After considering the issues above, write a thesis statement that expresses in a nutshell your take on the Arachne story as told by Ovid.  The rest of the page will be supporting it.
• Use specific references to Ovid's text to describe the details of the story that support your ideas. 
• Include at least one brief quote, being sure to specify how it supports your point.
• Write a concluding sentence or sentences that summarizes and completes your thesis statement.

Assignment for Thursday, Sept. 13:

NOTE: if you're having problems locating material from previous classes, the Assignments From Previous Classes link below takes you to all of them.

Reading:

• M&L chapter 9 (Aphrodite and Eros)
• Review M&L Chapter 8 (Athena) and the Iconography of Athena Power Point

To Turn In:

• Arachne assignment due:  This link is to a more detailed set of directions than the one I had posted previously, although it is the same assignment and the task is the same.  The new account gives more suggestions about how to approach & conceive the assignment.
• M&L Quiz Chapter 9

Power Point:

• Iconography of Athena (review)

Discussion Questions:

Connections to the present:

• The Greeks had many different gods of the ocean, and these deities reflect the different moods of the ocean (among other things).  How do we characterize the ocean?  What images come to mind of its powers and varying moods?  In what situations do these feelings/perceptions occur?  Consider also the potential metaphors for human existence in the different and/or changing aspects of the o

Terms and Names

Iconography quiz: I will give you three identified pictures of deities and/or events we have studied through chapter 6.  You choose 2 to write about.  In each, you should use the image as a starting point for the discussion: in other words, observe how the image elucidates or reflects the nature of the deity/event, and use it as a starting point for points you want to make about the significance of that character/event.  This is much like the first quiz, with the addition of an image as the starting point.  All images are available on the power points posted through chapter 6, and/or in the textbook.

Rubric: NOTE: You do not have to identify the image, only discuss it.

A: Able to identify the significance of major elements of the iconography and relate them to the overall nature of the deity/scene, and/or to thematic elements in the deity/scene's meaning and/or cultural significance

B: Same as A, but without as complete a statement of the significance of the deity/scene

C: Able to identify the major elements of the iconography, but sketchy on their significance

D-F: Not able to recognize key elements of the iconography, substantial errors or misinterpretations.

Example:  (This is based on a figure we have not yet studied, so the ideas here would be more apparent if we had been there yet ...  And it is only one example; there are lots of other directions the author could have gone for an equally effective discussion.)

Athena A: Athena is portrayed with a helmet, shield and spear, which demonstrate her role as the goddess of warfare (reasonable war as opposed to the brutality of Ares).  Although she is armed for warfare, she is wearing women's clothes.  This shows that although she is the goddess of a masculine activity, she is not masculine herself, which fits in with the idea that as the favored daughter of Zeus, she supports her father in his concerns and represents the benevolence women can bring to the city.  (This is why she is called Athena Polias.)  She is wearing the aegis, which only she and Zeus can wear, and it symbolizes her protective nature.  She also has the gorgon's head on her shield, which is a protective element in that it can frighten bad influences away.  Athena is striding forward, a gesture which shows power and even aggression (Zeus is also shown this way).  This image shows Athena as the protective, rational goddess who can be counted on to help humans in war as well as in other aspects of life. B: Athena is portrayed with a helmet, shield and spear, which demonstrate her role as the goddess of warfare (reasonable war as opposed to the brutality of Ares).  Although she is armed for warfare, she is wearing women's clothes.  This shows that, although she is the goddess of a masculine activity, she is not masculine herself.  She is wearing the aegis, which only she and Zeus can wear, and it symbolizes her protective nature.  Athena is striding forward, a gesture which indicates her power. This image shows Athena as the protective, rational goddess who is a help to humans in war as well as in other aspects of life.  [Same overall ideas, but less fully expanded into the significance of the iconography] C: Athena can be indentified by her helmet, spear and shield, and also because she wears a full-length dress even though she is armed.  She is wearing the aegis which symbolizes protection and her closeness with Zeus.  She is striding forward aggressively which shows her as the goddess of war.  Athena is also the goddess of intelligence and crafts and is especially close to her father, Zeus.  [Aware of key elements of iconograpy;  gets the "protective" idea in; notices that she is striding forward but does not interpret it, presents sound information about Athena but not necessarily in the context of iconography]

Assignment for Tuesday, Sept. 11:

Reading:

• M&L chapter 7 (Poseidon and Sea Deities)
• M&L Chapter 8 (Athena)

QUIZ on Iconography (description)  (rubric)

To Turn In:

• Chapter 7 quiz
• Chapter 8 quiz

Power Point:

• Poseidon and Sea Deities
• Iconography of Athena

Discussion Questions:

Connections to the present:

• The Greeks had many different gods of the ocean, and these deities reflect the different moods of the ocean (among other things).  How do we characterize the ocean?  What images come to mind of its powers and varying moods?  In what situations do these feelings/perceptions occur?  Consider also the potential metaphors for human existence in the different and/or changing aspects of the ocean.

• Why are there so many monsters in this chapter?

Primary Sources and Comparisons:

• How do the aspects of Athena (wisdom, warfare, and weaving) combine to make a coherent group?

• From the Iconography of Athena power point:

  • how would you describe Athena; what are her attributes?

  • what sorts of scenes does she appear in in vase paintings?

• In this chapter, we have several primary sources.  What does each say about Athena?

  • Homeric Hymn to Athena (x 2) 

  • Hesiod, Theogony

  • Parthenon & its sculpture

  • Ovid

Due next class: Arachne writing assignment

Assignment for Thursday, Sept. 6:

Reading:

• M&L chapter 6 (The Nature of the Gods)
• Review M&L Chaper 5 (The Olympians) (concentrate on Hephaestus and Ares)

To Turn In:

• Chapter 4 quiz (if you didn't last time)
• Chapter 5 quiz (if you didn't last time)
• Chapter 6 quiz

Power Point:

• The Olympians (an overview, with visuals, of the Olympians Chapter)

Discussion Questions:

Gods and humans:

• In what ways are gods similar to humans?  In what ways are they different?  What makes them deserve or otherwise gain the worship and respect they are given?  Are our monotheistic views of god at all similar to the attitudes of the ancient Greeks? (Class discussion)

Primary Sources and Comparisons:

1. Croesus and Solon: what are the ways that ideas of hubris, ate, nemesis, and miasma show up in the story?  What do we learn about human nature and limitations from the Croesus story?

Connections with the present:

1. Some of the Olympian characters fit stereotypes (or are the archetypes?) visible in our own society: Hera as the nagging wife, Ares as the brash, violent, not-too-smart-and-subtle guy, Hephaestus as the good-natured guy who gets taken advantage of.  Where do these stereotypes come from in our society?  Are they realistic?  Do they reflect our social values?  (Done in class discussion)

Terms and names:

Terms and names:

Assignment for Tuesday, August 30:

Reading:

• Zeus’s Rise to Power (M&L 4)
• Olympian Gods (M&L 5)

To turn in:

• Chapter 4 quiz
• Chapter 5 quiz

Power Point

• Zeus (an overview, with visuals, of the Zeus's Rise chapter)
• Iconography of Zeus  (images of Zeus to interpret for cultural views)
• The Olympians (an overview, with visuals, of the Olympians Chapter)

Connections with the present:

Primary sources and comparisons:

Terms and names:

Assignment for Tuesday, Sept. 4:

Reading:

• M&L chapter 4  (Zeus's Rise to Power)
• M&L Chaper 5 (The Olympians) (concentrate on Hephaestus and Ares)

To Turn In:

• Chapter 4 quiz
• Chapter 5 quiz

IN-CLASS QUIZ: Topic: I will give you a list of 10 names and terms having to do with creation, from the terms and names studied through Jan 19th.  You will write a paragraph that incorporates at least 5 of them.  While I will not include the methodologies in the terms/names (e.g. rationalism, structuralism, archetype, etiology, etc.) it would be a good idea to think about incorporating one of these perspectives in your response.   See the rubric.  Quiz terms and names

Power Point:

• Zeus (an overview, with visuals, of the Zeus's Rise chapter)
• Iconography of Zeus  (images of Zeus to interpret for cultural views)
• The Olympians (an overview, with visuals, of the Olympians Chapter)

Discussion Questions:

Connections with the present:

1. Zeus is clearly a patriarchal father figure who is powerful over his family.  What images of such figures do we have today?  Is it a desirable thing today?  Was it 100 years ago?  (Done in groups)

2. Some of the Olympian characters fit stereotypes (or are the archetypes?) visible in our own society: Hera as the nagging wife, Ares as the brash, violent, not-too-smart-and-subtle guy, Hephaestus as the good-natured guy who gets taken advantage of.  Where do these stereotypes come from in our society?  Are they realistic?  Do they reflect our social values?  (Done in class discussion)

Primary Sources and Comparisons:

(NOTE: Focus on questions 4-5 for class discussion)

1. Why does Zeus have such a contradictory nature -- appearing both as the god of justice and order and the repist/seducer of many mortal women?  How might a Greek resolve this contradictory nature?

2. How would you describe the tone of Hesiod's Four or Five Ages?  What commentary on human history does it give?  What about the response of the reader/hearer to this account.

3. Ovid (a Roman writing in the BC/AC transition) has a very different take on thigs.  What is the difference between his commentary and Hesiod's (substance, tone, effect ...)

4. Prometheus is a classic "trickster" figure, in that he deceives those in power, causes harm to himself and others, yet also causes creativity and change in the universe.  Take one of the following positions, and be able to support it with specifics. 

   1. The results of Prometheus' tricks are generally bad, in that they result in a damaged relationship between humans and gods and a harder existence for humans.

   2. The results of Prometheus' tricks are generally good, in that they brought humans maturity and technology, despite the suffering they caused.

5. Aeschylus and Hesiod: The Prometheus story is told at length by Hesiod, and referred to in part by Aeschylus in Prometheus bound.  Would Aeschylus and Hesiod have different takes on questions 3 above?

6. Ares and Hephaestus: They may be stereotypes, but they are also gods.  So how do their characters mesh with their powers and provinces?

Terms and names:

Quiz Terms and Names

Quiz Rubric:

• A: a coherent paragraph showing detailed knowledge of the terms/names chosen and interrelating them effectively into a unified comment
• B: strong knowledge of terms chosen, and some interrelating of the concepts
• C: Awareness of the meaning and significance of the names and terms
• D-F unfamiliarity with names & terms

Assignment for Thursday, August 30:

Reading:

• Myths of Creation (M&L3)

To turn in:

• Chapter 3 quiz

Power Point: Creation

Connections with the present:

What other stories of creation are you familiar with? (Biblical, big bang and other scientific theories, any other cultural story you have encountered in reading or study)?  Choose one or two to contemplate.  What are the processes that lead to creation?  Who is the creator?  Is this story/these stories meaningful to you in understanding the world?

Primary sources and comparisons:

1. Hesiod’s creation has a particular progression of who is born from whom and the forces that originate and cause creation.  What are the key elements in this progression?  Consider: Chaos, Eros, Gaia, Uranus, the different mates of Gaia and their children, the children of Night (Nyx).  Note: you do not have to know and keep straight who all of these are (except the ones in terms and names) – the key thing is to note the concepts that are related through creation.

2. Violence and creation: There is obviously a lot of violence in Greek creation stories.  Some of the reasons scholars and others have proposed are listed below.  Do any of these seem more likely to you than others?  Pick one (or more) to support, using examples from the Greek creation stories.

1. Violence is part of life, so myth reflects that part of life. 

2. Creation involves the violence of destroying or overtaking the old, so naturally creation stories contain violence. 

3. Change is often violent, and the early universe is full of changes.

4. Real families have many conflicts and violent impulses, so naturally the divine families of myth have conflicts and violent impulses.

5. Psychologically speaking, every son knows that he will have to symbolically destroy his father to reach his own power and maturity, and myth reflects this psychological truth. 

6. Since violence (in the form of warfare) was an eeryday possibility for the ancient Greeks, their universe was simply more violent than ours

Reading:

• M&L Online Summary of Chapter 1, Through Myth and Psychology: Archetypes
• M&L Online Summary of Chapter 2
• M&L Chapter 2 (read after you have read the summary)
• Begin M&L Chapter 3, through The Sacred Marriage ...

To Turn In:

• Chapter 1 quiz
• Chapter 2 quiz

Power Points:

• Introduction to Greek Culture
• Historical Background and Approaches to Myth

Discussion Questions:

Connections with the present:

1. How much can you tell about people from the material remains they leave?  (Religious beliefs, social structure, attitudes about gender, attitudes toward central ideas like use of military force, pleasure and enjoyment in daily life, duty and responsibility, hard work, balance in life activities, sexual behavior ... consider what various architecture and abandoned (but durable) possessions might say about our own society.

2. What are the key elements of the landscape of Greece (from power points or other sources).  To what extent might landscape play a role in religious belief -- or not?  Is landscape a factor in any religious system you are familiar with?

3. (Probably for next time)  What other stories of creation are you familiar with? (Biblical, big bang and other scientific theories, any other cultural story you have encountered in reading or study)?  Choose one or two to contemplate.  What are the processes that lead to creation?  Who is the creator?  Is this story/these stories meaningful to you in understanding the world?

Primary Sources and Comparisons:

1. What elements of the landscape and material remains of Troy, Crete, and Mycenae/other mainland sites, give about the cultures that inhabited them?  Be specfic -- note several archeological remains that (potentially) show you something about the culture and your conclusions/suggestions about them.

2. Hesiod’s creation has a particular progression of who is born from whom and the forces that originate and cause creation.  What are the key elements in this progression?  Consider: Chaos, Eros, Gaia, Uranus, the different mates of Gaia and their children, the children of Night (Nyx).  Note: you do not have to know and keep straight who all of these are (except the ones in terms and names) – the key thing is to note the concepts that are related through creation.

3. How does creation happen in Hesiod (and how does it compare to the creation stories you are familiar with)?

4. We live in a monotheistic society (Whether Christian, Jewish or Muslim) and obviously the Greeks were polytheistic.  Does this make an inherent difference in how our different cultures see creation?

Terms and names: