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Head of the goddess from her Sanctuary in Dion.
Marble sculpture
4th century BC
Dion, Sanctuary of Demeter
Dion, Archaeological Museum.
This mosaic was found in dining room of the house of Gypsy Girl (Menad). The figure became the symbol of Zeugma because of the mysterious look she had in her eyes. When it could not be identified it got named “Gypsy” because of the women's resemblance with gypsies. But some sources draw attention to the wine in the mosaic and claim that it is Menad .
King Acrisius of Argos was warned by an oracle that he would be killed in time by a son born to his daughter Danae. So he promptly locked Danae up in a tower and threw away the key. But the god Zeus got in, disguised as a shower of gold, with the result that Perseus was born. So Acrisius straightaway stuck daughter and infant into a brazen chest and pushed it out to sea. Perhaps he expected it to sink like a stone, but instead it floated quite nicely, fetching up on a beach on the island of Seriphos. Here a fisherman named Dictys came upon the unusual bit of flotsam and adopted a protective attitude toward its contents. Thus Perseus had the advantage of a pure and simple role model as he grew to young manhood. Then one day Dictys's brother, who happened to be king in those parts, took a fancy to Danae and pressed his attentions upon her.
"You leave my mother alone," insisted Perseus, clenching a not-insubstantial fist. And the king, Polydectes by name, had no choice but to desist. Or, rather, he grew subtle in the means of achieving his desires.
"Okay, okay, don't get yourself into an uproar," he said to Perseus, though not perhaps in those exact words. He put it out that, instead, he planned to seek the hand of another maiden, one Hippodameia.
"And I expect every one of my loyal subjects to contribute a gift to the bride price," he said, looking meaningfully at Perseus. "What have you to offer?"
When Perseus did not answer right away, Polydectes went on: "A team of horses? A chariot of intricate devising? Or a coffer of gems perhaps?"
Perseus fidgeted uncomfortably. "If it meant you'd leave my mother alone, I'd gladly give you anything I owned - which unfortunately is precious little. Horses, chariot, gems, you name it - if I had 'em, they'd be yours. The sweat of my brow, the gain of my strong right arm, whatever. I'd go out and run the marathon if they were holding the Olympics this year. I'd scour the seas for treasure, I'd quest to the ends of the earth. Why, I'd even bring back the head of Medusa herself if I had it in my power."
Pausing for a breath against the pitch to which he'd worked himself up, Perseus was shocked to hear the silence snapped by a single "Done!"
"Come again?" he queried.
"You said you'd bring me Medusa's head," Polydectes replied. "Well, I say fine - go do it."
And so it was that Perseus set out one bright October morn in quest of the snake-infested, lolling-tongued, boar's-tusked noggin of a Gorgon whose very glance had the power to turn the person glanced upon to stone.
Clearly, then, Perseus had his work cut out for him. Fortunately he had an ally in Athena. The goddess of crafts and war had her own reasons for wishing to see the Gorgon vanquished, so she was eager to advise Perseus. Why, exactly, Athena had it in for Medusa is not entirely clear. The likeliest explanation is that the Gorgon, while still a beautiful young maiden, had profaned one of Athena's temples. For this sacrilege Athena turned her into a monster, but apparently this wasn't punishment enough. Now Athena wanted Medusa's head to decorate her own shield, to magnify its power by the Gorgon's terrible gaze. Athena told Perseus where he could find the special equipment needed for his task.
"Seek ye the nymphs who guard the helmet of invisibility," she counseled the young hero.
And where, Perseus inquired, might he find these nymphs?
"Ask the Gray Sisters, the Graeae, born hags with but an eye between them. They know - if they'll tell you."
And where were the Graeae?
"Ask him who holds the heavens on his back - Atlas, renegade Titan, who pays eternally the price of defying Zeus almighty."
Okay, okay, and where's this Atlas?
"Why, that's simple enough - at the very western edge of the world."
Before sending him off on this tangled path, Athena lent Perseus her mirrored shield and suggested how he make use of it. And while her directions were somewhat deficient as to particulars, Perseus did indeed track down Atlas, who grudgingly nodded in the direction of a nearby cave where, sure enough, he found the Graeae. Perseus had heard the version of the myth whereby these Sisters, though gray-haired from infancy and sadly lacking in the eyeball department, were as lovely as young swans. But he was disappointed to find himself taking part in the version that had them as ugly as ogres. Nor was their disposition any cause for delight.
Sure, they knew where the nymphs did dwell, but that was, in a manner of speaking, theirs to know and his to find out. With cranky cackles and venomous vim, they told him just what he could do with his quest. But the hero had a trick or two up his sleeve, and by seizing that which by virtue of its scarcity and indispensability they valued above all else, he made them tell him what he wanted to know about the location of the water nymphs.
At this point Perseus might have paused to consider the extent to which his quest was akin to computer adventure gaming. For starters, there was the essential business of bringing back - as in Jason "bringing back" the Golden Fleece to Colchis where, in the form of a flying ram, it had carted off a young maiden and her brother on the point of sacrifice. How remarkably similar to a gamer acquiring a particularly hard-sought icon for his or her inventory. Or so Perseus might have reflected had he been born in the era of compact discs and read-only memory. And then, in furtherance of his Medusa quest, there was the laundry list of other "inventory" that had to be acquired first, beginning with the shield with the mirrored surface and the helmet of invisibility.
Some versions of the myth have it that the water nymphs in question were pretty much garden variety. Properly referred to as naiads, they were minor deities of a far-less-than Olympian order, mildly powerful in their own limited way, but not even immortal, and confined in their scope of operation to a given body of water. For just as dryads are fairy creatures attached to trees, and Nereids are ocean-going, naiads are nymphs that live in ponds and pools.
Thus when the handsome youth Narcissus fell in love with his own reflection in the surface of a pool, he broke the heart of the nymph who dwelled therein, who was condemned only to repeat Narcissus's sighs and murmurs like an echo. In fact, Echo was her name. And thus when the handsome youth Hylas strayed while fetching water for his shipmates on the Argo, some nymphs at the water hole were so smitten that they yanked him beneath the surface to dwell with them forever - much to the despair of Heracles, whose squire he was.
One version of the Perseus myth holds that the naiads he sought were special indeed, having as their domain the dark and lifeless waters of the river Styx, in the deepest Underworld. They were also reputed to have such bad personal habits that they could be smelled from a great distance. Such is perhaps understandable given the dubious cleansing powers of a river in Hell.
At length Perseus found the nymphs and got the gear. This consisted of the helmet of invisibility, winged sandals and a special pouch for carrying Medusa's head once he'd chopped it off. Medusa would retain the power of her gaze even in death, and it was vital to hide the head unless occasion called for whipping it out and using it on some enemy.
The god Hermes also helped out at this point, providing Perseus with a special cutting implement, a sword or sickle of adamant. Some add that it was Hermes, not the nymphs, who provided the winged sandals. Thus Perseus was equipped - one might even say overequipped - for his task. In fact, a careful examination of the hero's inventory leads to the suspicion that we are presented here with a case of mythological overkill.
A quick escape would be essential after slaying Medusa, since she had two equally monstrous sisters who would be sure to avenge her murder, and they had wings of gold or brass which would bear them in swift pursuit of the killer. So at least the winged sandals were a good idea. But if this supernatural appliance guaranteed the swiftest of escapes, why bother with a helmet of invisibility, which made it just about impossible for the Gorgons to find you even if you didn't deign to hurry away? Because it makes for a better myth, that's why.
And so Perseus sought out Medusa's lair, surrounded as it was by the petrified remains of previous visitors, and he found the Gorgon sleeping; Yes, even though he had the good old magic arsenal, Perseus was not so foolhardy as to wake Medusa. And even though her gaze could hardly be expected to turn anyone to stone while her eyes were closed, he used the device provided by Athena to avoid looking at Medusa directly. (This suggests that you could be turned to stone just by gazing at Medusa, though most versions of the myth have it that it was the power of her gaze that counted.)
Entering, then, somewhat unglamorously into the fray - if "fray" is the right word to describe a battle against a sleeping opponent - Perseus whacked Medusa's head off. At just that instant, the winged horse Pegasus, offspring of Medusa and the god Poseidon, was born from the bleeding neck. Then Perseus donned his special getaway gear and departed victoriously before Medusa's sisters could take their revenge. Though these sisters were immortal, Medusa clearly was not. She died when her head was severed, which required the special cutting implement given to Perseus by Hermes.
Even in death Medusa's gaze could turn things to stone, so Perseus quickly stored his trophy in the special sack provided by the water nymphs. Returning to Seriphos, he put it to good use on King Polydectes, who had gone back to pestering the hero's mother just as soon as Perseus was out of sight. Polydectes made the mistake of being sarcastic about Perseus's conquest of the Gorgon. And since he took this truly heroic accomplishment for granted, he himself was ever afterwards taken for granite.
Seraphin (Monica McDowell) as Demeter at Castle McCuloch in Jamestown, North Carolina.
Lighting: Twin speed lights in a shoot-through umbrella, camera left, single speed light in a Honl snoot, camera right. Final speed light, with a blue gel, about 20 feet back and firing across the moat at the castle. Exposure set about 1-2 stops above ambient, to keep some of the details in the background.
Representação do Mito de Pasífae com Ícaro e seu pai Dédalo.
Na mitologia grega, Ícaro ficou famoso pela sua morte por cair dentro do Egeu quando a cera segurando suas asas artificiais derreteram.
Ícaro era filho de Dédalo, um dos homens mais criativos e habilidosos de Atenas. Um dos maiores feitos de Dédalo foi o labirinto do palácio do rei Minos de Creta, para aprisionar o Minotauro. Por ter ajudado Ariadne, a filha de Minos a fugir com Teseu, Dédalo provocou a ira do rei que, como punição, ordenou que Dédalo e seu filho fossem jogados no labirinto.
Dédalo sabia que sua prisão era intransponível, e que Minos controlava mar e terra, sendo impossível escapar por estes meios. "Minos controla a terra e o mar", disse Dédalo, "mas não as regiões do ar. Tentarei este meio".
Dédalo projetou asas, juntando penas de aves de vários tamanhos, amarrando-as com fios e fixando-as com cera, para que não se descolassem. Foi moldando com as mãos e com ajuda de Ícaro, de forma que as asas se tornassem perfeitas como as das aves. Estando o trabalho pronto, o artista, agitando suas asas, se viu suspenso no ar. Equipou seu filho e o ensinou a voar. Então, antes do vôo final, advertiu seu filho de que deveriam voar a uma altura média, nem tão próximo ao Sol, para que o calor não derretesse a cera que colava as penas, nem tão baixo, para que o mar não pudesse molhá-las. Dédalo beijou seu filho com lágrimas nos olhos e as mãos tremendo, levantou vôo e foi seguido por ele.
Eles primeiramente se sentiram como deuses que haviam dominado o ar. Passaram por Samos e Delos à esquerda, e por Lebinto à direita.
Ícaro deslumbrou-se com a bela imagem do Sol e, sentindo-se atraído, voou em sua direção esquecendo-se das orientações de seu pai, talvez inebriado pela sensação de liberdade e poder. A cera de suas asas começou rapidamente a derreter e logo caiu no mar. Quando Dédalo notou que seu filho não o acompanhava mais, gritou: "Ícaro, Ícaro, onde você está?". Logo depois, viu as penas das asas de Ícaro flutuando no mar. Lamentando suas próprias habilidades, enterrou o corpo numa ilha e chamou-a de Icaria em memória a seu filho. Chegou seguro à Sicília, onde construiu um templo a Apolo, deixando suas asas como oferenda.
Every winter, Half Pints Brewing releases a seasonal to help with the winter blues. Usually, it is their popular Burly Wine beer. However, they decided to discontinue the beer for at least a few years. To replace this delicious wintertime beer, they introduced Demeter's Harvest Wheatwine. I have never had a wheatwine beer in my life, so I'm quite interested in trying it.
Demeter's Harvest comes in 650mL bottle, has an ABV of 11% and IBU of 75. How will this wheatwine compare with my favourite barley wine?
Appearance: Pours a very rich hazy honey/caramel reddish-brown. It doesn't seem to have much foam, it's minimal with a bit of off-white.
Aroma: This is a very sweet beer, I tried to review this for the last hour, but managed to spill some of the wheat wine on me, as well as the review was completely lost, so here I am re-reviewing it. Very sweet, rich amount of hops. Half Pints' never is skimpy on the hops, so the aroma is making me salivate. You really can notice the honey in the aroma, as this beer has a good amount of honey in it. So for vegans out there - DO NOT try this beer. Honey lovers, come on down! There's a good amount of citrus in the aroma, I think pineapple. This reminds me of sitting on a hot beach down south. Lucky for my parents, they're heading to Roatan in a few weeks... lucky.
Taste: Wow, a very sweet beer. I can taste the honey immediately. I'm honestly not a fan of honey, but part of this beer.. wow, it's delicious! I also notice a rich amount of citrusy hops (a bit of grapefruit), all in all, a very sweet tasting beer. I've tried a lot of beers from Half Pints since 2006 (first being a (too hoppy for me) German beer), and this seems like a beer that you could use as a barbecue glaze for chicken or pork. Licking my lips, it reminds me of eating wings, it's that sweet, honey, citrusy, hoppy.
Overall Thoughts: It's a pricey beer at $10 for a 650mL bottle, but that being said, it's tellement délicieuse, cbonne! Degustez-ça! Damned sweet, damned good! Quite a honeyish beer, strong in ABV at 11%, so you will get warm, in time for a very cold, very long Manitoban winter, but thankfully this winter has been... fairly mild, by Manitoba standards. Unfortunately distribution of this beer is fairly low. You can't get this in Brandon, but you can get it at the brewery and a few MLCC's in Winnipeg (but it's likely gone by now). Get it if you can. Thanks to Colin and Grant (well his sister moreso than him ;) ) for picking some up for me, or else I would have never gotten to try this sweet nectar of a beer. Compared to Burly Wine, I don't know which one I like more, if it were up to me, both would be around at Christmas time! I think I may enjoy Demeter's Harvest slightly more than Burly Wine, because of the rich & hoppy sweetness.
From the label: Demeter, goddess of the harvest, is the inspiration for this Wheatwine from Half Pints Brewing Company. A base of malted wheat, barley and wildflower honey celebrate the fruit of the land, while Centennial and Columbus hops lend their firmly citrus undertones to the finish of this beer. As we all know, the gods can be vengeful at times, so share this extra strong ale amongst friends, served in brandy glasses at 10C. Try it with Vietnamese Fresh Rolls with a spicy peanut sauce, aged French Goat's Cheese or Duck a l'orange."
LEGO Demeter
from
" Percy Jackson and the lightning thief"
My creations.
Rick riordan for PERCY JACKSON series
After one entire year, here comes another image. Does anybody guess it's theme? wait for the others details to get more hints.
This image was made with the gentle contribution of the pictures of wikimedia commons and 'Eric in SF' [check out his stunning photostream www.flickr.com/photos/ericinsf/sets/203243/ – thank you, Eric, for the permission of using your fabulous images!].
It is a very important image for me, hope you guys like the final result.
ps. EricinSF – this black corn is adorable!
;-)
Gaziantep (Turquia) — Encruzilhada das rotas comerciais entre Ásia e Ocidente, Zeugma foi rica e esplendorosa antes de ser destruída por ataques. Os arqueólogos a comparam por sua beleza a Pompéia, a cidade coberta pela lava do Vesúvio em 79.
Erguida por um general de Alexandre Magno às margens do Eufrates, a antiga cidade de Zeugma foi coberta pelas águas de uma represa, enterrando num piscar de olhos — e para sempre — uma história que começou a ser construída três séculos antes de Cristo.
A campanha internacional para tentar salvar Zeugma teve fim este mês, quando as águas da represa de Birecik, perto de Gaziantep (sudeste da Turquia), cobriram parte da cidade: quando totalmente cheia, inunda até 30% dos 2.000 hectares da área.
Mas a corrida contra o relógio de quatro meses permitiu que mais de cem arqueólogos turcos e estrangeiros estudassem a cidade, salvando assim alguns de seus tesouros mais conhecidos.
‘‘Sinto-me ao mesmo tempo feliz e triste. Uma parte de Zeugma foi inundada, mas nós fizemos tudo o que foi possível’’. O chefe da equipe de arqueólogos, Kemal Sertok, sabe que as circunstâncias não permitiram muita coisa, mas prefere ver pelo lado positivo — afinal, o trabalho uniu profissionais de todas as partes num esforço de grande carinho pela história e cultura locais.
Com as escavações, foi possível resgatar grandes mosaicos e afrescos que decoravam paredes e pisos nas casas da cidade — além de estátuas, milhares de objetos e inscrições, testemunhas de uma notável organização social.
Mas vários mosaicos foram deixados ali, para que guardassem a cidade e protegessem seus habitantes pelos séculos que virão.
‘‘Em um sítio tão grande como Zeugma, é impossível escavar tudo’’, explicou o arqueólogo britânico Robert Early.
‘‘Nossa missão era aprender a conhecer como era a vida aqui nas épocas helenística, romana e bizantina e preservar no lugar o que fica para as futuras gerações. Acho que conseguimos’’, disse.
A construção da represa de Birecik começou em 1996, mas os apelos para salvar Zeugma só começaram a ser escutados em junho passado, quando um primeiro setor da cidade foi coberto pelas águas, provocando reações de protesto no mundo inteiro.
As obras resgatadas serão expostas no museu de Gaziantep, cujas instalações serão ampliadas agora.
O Ministério da Cultura da Turquia deverá decidir dentro de alguns meses se declara ou não o que sobrou da cidade — uns 70% — patrimônio arqueológico protegido por lei.
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
The head of the goddess of fertility - dated to 350-330 B.C.
The seated figure of the goddess Demeter from her sanctuary in the ancient city of Cnidos (on the Datca penninsula near Bodrum in modern southwest Turkey).
The sculpture is a particularly fine original piece from the 3rd century BC influenced by the style of the sculptor Praxiteles.
Zeus e a princesa Europa. Zeus disfarçado de touro levando Europa para Creta.
Europa era uma princesa, filha de Aginor e Telefasa. Os deuses do Olimpo conheciam a beleza de Europa e tentavam raptá-la sem êxito. Foi então que Zeus, o deus supremo dos antigos gregos, se apaixonou por ela, ao vê-la jogando com as suas amigas na praia de Sidon, ficando maravilhado pela sua beleza. Tanto era o seu amor por ela que para se aproximar de Europa sabia que esta o podia recusar se se apresentasse naturalmente. Como tal, pediu ajuda ao seu filho Hermes para a preparação do encontro. Zeus tinha decidido transformar-se num belo touro, para raptar a jovem Europa. Hermes estava encarregue de conduzir o rebanho de bois do rei, desde os altos prados até à praia, perto do sítio onde Zeus sabia que Europa e outras donzelas de Tiro acudiam para passar uma tarde de diversão.
Zeus adquire a forma de um touro branco, de feições nobres, com cornos parecidos ao crescente lunar, os quais não infundiam medo algum. Aproximou-se, saindo do rebanho, ao grupo das jovens, e prostrou-se aos pés de Europa. Primeiro, a jovem assustou-se, mas rapidamente foi ganhando confiança. Optou por acariciar a cabeça do maravilhoso animal, colocando-lhe umas grinaldas de flores que as raparigas entrelaçavam entre os cornos. Europa decide então sentar-se em cima do animal, tão confiante e alheia do que a esperava. O touro beijou os pés da jovem, enquanto as suas amigas a adornavam. Zeus decidiu continuar o seu plano. O animal ergueu-se e sem demora lançou-se ao mar levando consigo Europa no seu dorso. Em vão Europa gritava, suplicando, mas o touro nadava furiosamente, afastando-se da costa.
7565. Bronze statuette of a female figurine wearing a heavy tunic (peplophoros). From the sanctuary of Demeter and Kore Karpophorol at Agios Sostis, Arcadia. Probably represents Artemis with a torch. Peloponnesian work with attic influence. About 450-425 BC.
National Archaeological Museum, Athens, Greece.
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6197. Bronze statuette of a female figurine wearing a heavy tunic (peplophoros). From Elis. The figure supported a mirror. Argive workshop. About 455 BC.
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15226. Bronze mirror. Provenance unknown. The mirror is ssupported by a demale figurine wearing a heavy tunic (peplophoros) with a bird. Figurines of cocks and a hare at the top of the disk. Local variant of the argive-corinthian type. About 470-460 BC.
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12449. Bronze mirror. From Ioannina. The mirror is supported by a female figurine wearing a heavy tunic (peplophoros) with a bird. Disk with attached figurines of a hare and a dog. Work of a corinthian workshop. About 465-460 BC.
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7565. Χάλκινο αγαλμάτιο πεπλοφόρου. Από το ιερό της Δήμητρας και Κόρης Καρποφόρων στον Άγιο Σώστη Αρκαδίας. Ίσως πρόκειται για Αρτέμιδα με δάδα. Έργο πελοποννησιακό με αττική επίδραση. Γύρω στο 450-425 π.Χ.
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6197. Χάλκινο αγαλμάτιο πεπλοφόρου. Από την Ήλιδα Ηλείας. Η μορφή
αποτελούσε το στήριγμα κατόπτρου. Αργειακό εργαστήριο. Γύρω στο 455 π.Χ.
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15226. Χάλκινο κάτοπτρο. Άγνωστης προέλευσης. Στηρίζεται σε πεπλοφόρο που κρατεί πτηνό. Στο δίσκο πετεινοί και λαγός. Επαρχιακή απόδοση αργειακού-κορινθιακού τύπου. Γύρω στο 470-460 π.Χ.
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12449. Χάλκινο κάτοπτρο. Από τα Ιωάννινα. Φέρει ως στήριγμα αγαλμάτιο πεπλοφόρου που κρατεί πτηνό. Στην περιφέρεια του δίσκου λαγός και σκύλος. Έργο κορινθιακού εργαστηρίου. Γύρω στο 465-460 π.Χ.
Εθνικό Αρχαιολογικό Μουσείο. Αθήνα.
democracystreet.blogspot.com/2007/12/june-samaros-at-kala...
'After the Greek fires' by E.G. Vallianatos
www.hellenicnews.com/readnews.html?newsid=7786〈=US
The August 2007 photographs of the National Aeronautics and Space
Administration of burning Greece brought to light not merely the
monstrous size of the destruction, but the equally monstrous planning
of those striving to convert the country into a playground for rich
Greeks and foreigners.
Filling the dots between the hundreds of fires in Peloponnese puts
many of them within reasonable distance and direction of the Ionian
Road, a multibillion-dollar highway scheduled to open within four
years and connecting the cities Corinth, Patras, Pyrgos and Kalamata.
The arsonists did the dirty job for private and corporate criminals
who plan to invest in the now burned land. The Ionian Road meanders
along unspoiled coastline and Olympia, easily the most beautiful
region of the heartland of Hellas. The highway then moves from Olympia
in the west to the southern region of Peloponnese.
When in the early fifteenth century the Turks were threatening Greece
and the remnants of the Eastern Roman Empire, the Platonic philosopher
George Gemistos Plethon pleaded with the emperor in Constantinople to
make his stand against the Turks in Peloponnese. To make a difference,
Plethon said, Peloponnese would have to have a Greek army, not
mercenaries, and the ancient gods would have to replace Christianity.
In addition, Plethon argued, Peloponnese was the most Greek place in
Greece and the empire, its population always having being Greek. The
emperor did not listen to Plethon and the Turks conquered Greece in
1453.
Now the new conquerors of Peloponnese are likely to be those who
burned it: coming to Greece with pockets full of money and heads full
of expensive hotels, golf courses, exclusive gated summer homes, and
all the rest of tourist infrastructure. The Germans, for example, want
to convert Mountain Taygetos into a ski resort. American and British
tourist moguls are after hotels and golf courses and Greek businessmen
dream of hotels and restaurants.
Compounding the tragedy of the fires that burned something like
half-a-million acres of forest and farmland, there's a tradition of
political corruption that prepared the ground for the inferno. Both
the governing and opposition parties tried to emasculate or eliminate
article 24 of the Greek constitution that provides some protection to
forests. Second, Greek governments have misused earmarked European
Union money for land registry, Greece being the only EU country that
has no idea who owns what. The same is true of forests. No one knows
the forests' exact measurements and precise borders. Third, Greece has
been so cavalier about environmental protection that its ministry of
the environment is a subsidiary of the ministry of public works. And
fourth, the country is ecologically illiterate. Immediately after the
fires, there were people who wanted to hunt any surviving wildlife in
what was now burned land.
The Greek people do not trust the politicians because their primary
purpose has been self-enrichment, including the ruthless exploitation
of nature. For example, arsonists burned more than 2,500 acres of the
forest of Mount Penteli, some 10 miles northeast of Athens and famous
for its marble used in the building of the Parthenon. The largest
"owner" of Penteli is a monastery that, immediately after the fires,
"sold" hundreds of acres of the burned forest to developers, a
tradition the monastery maintains with ruthless vigilance. The
government, fully aware of the corruption of the monks, did nothing.
In fact, it has failed to declare that the burned mountain will be
reforested. The government also gave the archbishop of Athens,
probably one of the wealthiest Greeks, a 30 million euro grant for a
"conference center" to be built right in the burned forest.
Prime Minister Kostas Karamanlis would do well to bring the unseemly
behavior of the Penteli monks to an end. He should also appoint an
international commission to go to the roots of the fires and the
aftermath. Greek and foreign scientists with sustained funding from
the Greek government and EU could carry out the fundamental land and
forest registries while the government can create a powerful ministry
of the environment.
Such a ministry ought to lead Greece to green and healthy and Greek
development: making certain the country has clean water and air;
restoring the damaged ecosystems; promoting public transport and small
green cars; assisting Greek family farmers in growing enough food for
all Greeks, their food grown without poisons.
In other words, Greece after the fires does not have the dangerous
luxury of business as usual because such a prospect promises more
fires. Greece will have a secure future by becoming a green country.
Such a decision would be in accord with its ancient traditions of
venerating nature as well as would guarantee a gentle footprint on its
devastated landscape. Abolishing hunting, giving a chance to wildlife
to recoup, is a top priority.
Forests are essential in a green Greece. They produce oxygen and use
the greenhouse gas carbon dioxide; they are also nurseries of life. It
is responsible policy to pay citizens living near forests to become
forest guardians, protecting them from fires, loggers and developers
or, as the Greeks call them, "real estate eaters." This also means
Greece has to fund a fire prevention infrastructure that would
complement citizen initiatives.
Karamanlis has also to negate all the profits of those who burned
Mount Penteli, Peloponnese and Euboea. Don't approve any construction
in burned land, especially in devastated forests and lands, which have
been protected for the biological diversity of their plants and
animals. Use all the support from EU to keep rural people in their
villages, helping them to replant their olive trees and restore their
flocks of goats and sheep.
However, nothing will ultimately matter if the Greeks fail to assume
responsibility for nature, which was divine among their ancient
ancestors. This fountain of ecological consciousness is part of Greek
culture, the gods, the myths, the writings of the ancient Greeks.
Hesiod, the epic poet of eighth century BCE, hymns the deathless gods
while pleading with the Greeks to work the land. He tells the farmers
to be just in order to enjoy good harvests; their sheep weighed down
with wool; the top of their oak trees teaming with acorns and the
middle with honeybees. Goddess Artemis protected nature; Demeter was
the goddess of wheat, Dionysos introduced the grapevine and Pan
protected flocks. Athena gave the olive tree to the Athenians who
named their city after her, virgin daughter of Zeus, the supreme god
among the Hellenes. Zeus was also a weather god, the cloud-gatherer,
the master of thunder and thunderbolts. But Zeus preserved nature and
life by sending rains to the earth. These gods were at the heart of
Greek agrarian culture, which was at the heart of Hellenic culture.
The Eleusinian mysteries, the Greeks most sacred celebration, honored
Demeter and Dionysos and blessed the sowing of crops.
In addition, Greece is beautiful; attraction to nature being one of
the countrys great assets. The Greek government should bring this
nature and wisdom into the schools. Such an immersion in ecological
wisdom and Greek studies would be certain to bear fruits of Hellenic
solidarity, responsibility for each other, and love for wilderness and
reverence for the natural world.
E.G. Vallianatos is the author of "This Land is Their Land" and "The
Passion of the Greeks."
Podcast source - click on Vallianatos www.cuttingedge-atalkshow.com/videoarchives.cfm
name: Demeter
made for: A
size: 6
status: Completed
date completed: October, 25, 2015
working notes:
takebackhalloween.org/demeter/
Helpful hints: oliverands.com/community/forums/topic/halloween-2015
I ended up taking the Go To Signature Maxi dress pattern and removing 2" from the middle on both front and back. This gave me a more fitted dress that fits her absolutely perfectly. That said, the sleeves are really much tighter than I would have expected on a dress like this so if I were going to make it "for real" I'd have to consider how to make them a bit less fitted.
Pattern: Go To Signature Dress
by Go To Patterns
Fabric: Let's Pretend Velvet Fabric Green
by JoAnn Fabric and Craft Stores
Zeus e a princesa Europa. Zeus disfarçado de touro levando Europa para Creta.
Europa era uma princesa, filha de Aginor e Telefasa. Os deuses do Olimpo conheciam a beleza de Europa e tentavam raptá-la sem êxito. Foi então que Zeus, o deus supremo dos antigos gregos, se apaixonou por ela, ao vê-la jogando com as suas amigas na praia de Sidon, ficando maravilhado pela sua beleza. Tanto era o seu amor por ela que para se aproximar de Europa sabia que esta o podia recusar se se apresentasse naturalmente. Como tal, pediu ajuda ao seu filho Hermes para a preparação do encontro. Zeus tinha decidido transformar-se num belo touro, para raptar a jovem Europa. Hermes estava encarregue de conduzir o rebanho de bois do rei, desde os altos prados até à praia, perto do sítio onde Zeus sabia que Europa e outras donzelas de Tiro acudiam para passar uma tarde de diversão.
Zeus adquire a forma de um touro branco, de feições nobres, com cornos parecidos ao crescente lunar, os quais não infundiam medo algum. Aproximou-se, saindo do rebanho, ao grupo das jovens, e prostrou-se aos pés de Europa. Primeiro, a jovem assustou-se, mas rapidamente foi ganhando confiança. Optou por acariciar a cabeça do maravilhoso animal, colocando-lhe umas grinaldas de flores que as raparigas entrelaçavam entre os cornos. Europa decide então sentar-se em cima do animal, tão confiante e alheia do que a esperava. O touro beijou os pés da jovem, enquanto as suas amigas a adornavam. Zeus decidiu continuar o seu plano. O animal ergueu-se e sem demora lançou-se ao mar levando consigo Europa no seu dorso. Em vão Europa gritava, suplicando, mas o touro nadava furiosamente, afastando-se da costa.
As amigas, que ficaram na praia, surpreendidas, acenavam as mãos em gesto de desespero, lançando-se no mar aberto, com os Ventos a ajudarem a avançar, surgindo grupos de divindades marinhas como cortejo. Europa para não cair das suas costas teve que agarrar-se aos cornos, sendo que após uma longa viagem chegaram a Creta, onde Zeus assumiu de novo a forma humana. Desesperados e por ordem do seu pai, os irmãos e a mãe de Europa partiram à sua procura, mas não deram com ela.
Foi em Creta, mais precisamente na fonte de Gortina, sob a frondosa sombra dos plátanos onde o casal se uniu. Desde aquele dia que os plátanos nunca mais perderam as suas folhas no Inverno, dado que serviram para amparar o amor de um deus.
Da união de Zeus e Europa nasceram três filhos: o valente Sarpidon, o justo Radamantes e o legendário Minos, rei de Creta, de cuja família nascerá posteriormente o Minotauro, monstro com cabeça de touro e corpo humano. Este monstro estava encerrado num Labirinto construído por Dédalo.
Porém, Zeus não podia restringir-se à sua bela Europa, sendo que para a recompensar deu-lhe três prendas. A primeira foi Talo o autómato, feito de bronze e cuidava das costas de Creta contra os desembarques estrangeiros. A outra foi um cão que nunca ladrava nas caçadas e conseguia sempre agarrar as suas presas. Por último, entregou-lhe um surpreendente dardo que sempre e sem excepção acertava no alvo eleito.
Adicionalmente, e para recompensá-la por completo, Zeus fez com que Europa contraísse matrimónio com Asterion, o qual ao não poder ter filhos, adoptou os de Zeus.
Quando Europa morreu foram-lhe concedidas as honras divinas, sendo que o touro, isto é, a forma na qual Zeus havia amado Europa, foi convertido na constelação de Tauros e incluído nos signos do Zodíaco.
O pai de Europa, que nunca soube o que lhe acontecera, continuava a procurá-la por toda a parte, gritando o seu nome, mas nunca a encontrou. Decidiu então meter-se no seu barco mais rápido e prosseguir a busca por toda a Grécia e por todo o continente. O rei gritava desesperado o nome da sua filha, mas Europa não aparecia. A lenda diz que o rei passou por muitos lugares em busca da sua filha, lugares que agora são conhecidos como França, Alemanha, Itália… e como as pessoas que habitavam esses sítios na antiguidade escutavam em toda a parte o nome de Europa, decidiram chamar assim à terra que hoje em dia é o continente de Europa.
s709 4768 Pros1901 Dimitrija Demeter Prosvjeta List za zabavu znanost i umjetnost Tečaj IX. Emilij Laszowski 1901 Zagreb Tisak i naklada Antuna Scholza.
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Text: Prosvjeta 1901. str. 712.
Medju Gajevim suradnicima iztiče se svojim rodoljubnim radom i Dr. Dimitrija Demeter, koji se je rodio u Zagrebu, 21. srpnja (po novom koledaru) g. 1811., koji bijaše starinom Grk iz Macedonije, pa je kao muž slobodouman pune duše pristao uz narodni pokret, proslaviv se u najtežoj pjesničkoj struci, u drami.
Vraćao se g. 1836. kući iz Italije preko hrvatskoga primorja, kojom je sgodom u njegovoj duši niknula pjesma "Grobničko polje", koja ugleda svjetlo u prvom broju Vrazova "Kola". Godine 1839. izpjevao je pjesmu "Utjeha Iliriji" i "Kralj Matijaš", ovu po narodnoj priči, a komu da nije poznata žarka njegova i silna davorija: "Prostim zrakom ptica leti". Već g. 1838. izdao je I. dio „Dramatlčklh pokušenja", kojima je odpočeo svoj prezaslužni rad za hrvatsko kazalište, posvetiv mu sve sile svoje. Izdao je dvie dubrovačke drame "Zorislavu" i "Sunčanicu" u posve novom obliku od kojih su postale njegove drame "Ljubav i zloba" i drama "Krvna osveta" (svaka u 3 čina.). U "Izboru igrokaza ilirskoga kazališta" (10 svezaka) izašli su u prevodu nekoji kazalištni komadi od Demetra i nekojih njegovih prijatelja, a u "Iskri" njegove prve pripovjedke, (nekoje štampane u Zagrebu, g. 1882. u "Hrv. Biblioteci"), dočim je g. 1844. štampao u Beču, a. u II. dielu svojih "Dramatičkih pokušenja" veliku izvornu tragediju "Teutu". Za Lisinskijevu operu "Ljubav i zloba" složi Demeter libretto, pa i za njegovu drugu operu "Porin". Onaj se libretto pjevao prvi puta u kazalištu zagrebačkom s velikim i sjajnim uspjehom g. 1846., a drugi g. 1897. u spomen 50-godišnjice, kad je hrvatski jezik proglašen službenim, pa će se pjevati i prigodom i u spomen proslave 400-godišnjice umjetne hrvatske knjige 12. studenoga tg.
Demeter pisao je i u "Leptiru"; bio je nekoliko godina urednikom "Narodnih Novina"; za "Danicu" preveo je pjesme bana Jelačića, koje su posebice štampane u Zagrebu g. 1861. Radio je Demeter u komisiji za pravnu-političku terminologiju; bio je urednik "Hrvatskoga Sokola", a za hrvatsko kazalište, kojemu bijaše i upraviteljem, preveo je 45 raznih komada, pak je uzeo dramatizovati i poznati njemački roman "Ledena palača" ; preveo je više odlomaka iz Goetheova "Fausta" itd. Iza duge težke bolesti, umro je Demeter 26. lipnja g. 1872. u Zagrebu i našao vječno svoje počivalište u arkadama medju preminulim Ilircima, koje je podignuo u znak zahvalnosti grad Zagreb. "Matica hrvatska" izdala je (1891.) Demetrovu "Teutu" a VIadimir Mažuranić popratio ju je uvodom u kojem crta život i zasluge svoga prezaslužnoga ujaka.
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Demeter, Dimitrija, hrvatski književnik (Zagreb, 21. VII. 1811 – Zagreb, 24. VI. 1872). Potomak grčke trgovačke obitelji. Studirao filozofiju u Grazu, a medicinu u Beču i Padovi, gdje je i doktorirao. Prve književne radove napisao na novogrčkom, da bi se, nakon povratka u Zagreb, oduševio ilirskim pokretom i napustio liječničku službu. Pisao drame, pjesme, pripovijetke, feljtone, književne i kazališne kritike, a njegov kazališni rad snažno je utjecao na razvoj kazališne kulture u Hrvatskoj. Vrlo su poznate njegove povijesne drame (Teuta, 1844), nastale pod romantičarskim utjecajem, a u kojima se povijesna tematika javlja kao pozadina na kojoj se iskazuju snažni domoljubni osjećaji, kao i odnos prema aktualnim zbivanjima. Važno mjesto zauzima i poema Grobničko polje (1842), u kojoj opisuje borbu Hrvata i Tatara 1242. → Vatroslav Lisinski uglazbio je jedan njezin ulomak (Pjesma Hrvata) i ta je budnica (Prosto zrakom ptica leti) bila iznimno popularna u razdoblju ilirizma. Demeter je autor libreta za prve hrvatske opere Ljubav i zloba te Porin, koje je skladao Vatroslav Lisinski. Uređivao je časopise Iskra, Südslavische Zeitung, Danica, Narodne novine i Hrvatski sokol. Za potrebe kazališta preveo oko pedesetak tekstova. Na njegov poticaj Hrvatski sabor utemeljuje stalno kazalište, u kojem je voditelj, dramaturg i umjetnički ravnatelj. Jedan od vodećih hrvatskih pisaca i kulturnih djelatnika XIX. stoljeća.
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morton1905.blog.hr/oznaka/dr-dimitrija-demeter-text-prosv...
2022 The Peninsula Hotel Entrance Oculus Window Gargoyles - Lady Demeter with Cornucopia and Lady Artemis with bow and arrow - Street Midtown Manhattan off of 5th Avenue New York City 03/13/2022 NYC gargoyle statue ladies sculpture below stone trunk animal harvest goddess Window with animals
Jean Arp / Hans Arp was a German-French sculptor, painter, poet and abstract artist in other media such as torn and pasted paper.
Arp was born in Strasbourg. The son of a French mother and a German father, he was born during the period following the Franco-Prussian War when the area was known as Alsace-Lorraine (Elsass-Lothringen in German) after it had been returned to Germany by France. Following the return of Alsace to France at the end of World War I, French law determined that his name become Jean.
After one entire year, here comes another image. Does anybody guess it's theme? wait for the others details to get more hints.
This image was made with the gentle contribution of the pictures of wikimedia commons and 'Eric in SF' [check out his stunning photostream www.flickr.com/photos/ericinsf/sets/203243/ – thank you, Eric, for the permission of using your fabulous images!].
It is a very important image for me, hope you guys like the final result.
;-)
Perseu era um filho de uma mortal, Danae, e do grande deus Zeus, rei do Olimpo. O pai de Danae, o rei Acrísio, havia sido informado por um oráculo de que um dia seria morto por seu neto e, aterrorizado, aprisionou a filha e afastou todos os seus pretendentes. Mas Zeus era deus e desejava Danae: entrou na prisão disfarçado em chuva de ouro, e o resultado dessa união foi Perseu. Ao descobrir que, apesar de suas precauções, tinha um neto, Acrísio fechou Danae e o bebê numa arca de madeira e os lançou ao mar, na esperança de que se afogassem.
Mas Zeus enviou ventos favoráveis, que sopraram mãe e filho pelo mar e os levaram suavemente à costa. A arca parou numa ilha, onde foi encontrada por um pescador. O rei que comandava a ilha recolheu Danae e Perseu e lhes deu abrigo. Perseu cresceu forte e corajoso e, quando sua mãe se afligiu com as indesejadas investidas amorosas do rei, o jovem aceitou o desafio que este lhe fez: o de lhe levar a cabeça da Medusa, uma das Górgonas. Perseu aceitou essa missão perigosa não porque ambicionasse alguma glória pessoal, mas porque amava a mãe e estava disposto a arriscar a vida para protegê-la.
A Górgona Medusa era tão hedionda que quem olhasse seu rosto transformava-se em pedra. Perseu precisaria da ajuda dos deuses para vencê-la e Zeus, seu pai, certificou-se de que essa assistência lhe fosse oferecida: Hades, o rei do mundo subterrâneo, emprestou-lhe um capacete que tornava invisível quem o usasse; Hermes, o mensageiro divino, deu-lhe sandálias aladas; e Atena lhe deu uma espada e um escudo. Perseu pôde fitar o reflexo da Medusa e, assim, decepou-lhe a cabeça, sem olhar diretamente para seu rosto medonho.
Com a cabeça monstruosa seguramente escondida num saco, o herói voltou para casa. Na viagem, avistou uma bela donzela acorrentada a um rochedo à beira-mar, à espera da morte pelas mãos de um assustador monstro marinho. Perseu soube que ela se chamava Andrômeda e estava sendo sacrificada ao monstro porque sua mãe havia ofendido os deuses. Comovido por sua aflição e beleza, o herói apaixonou-se por ela e a libertou, transformando o monstro marinho em pedra com a cabeça de Medusa. Em seguida levou Andrômeda para conhecer sua mãe, que, na ausência dele, tinha sido tão atormentada pelas investidas do rei depravado que, desesperada, tinha ido se refugiar no templo de Atena.
Mais uma vez Perseu ergueu bem alto a cabeça da Medusa e transformou em pedra os inimigos da mãe. Depois, entregou a cabeça a Atena, que a incrustou em seu escudo, onde ela se tornou o emblema da deusa para sempre. Perseu também devolveu os outros presentes aos deuses que os haviam oferecido. Daí em diante, ele e Andrômeda viveram em paz e harmonia e tiveram muitos filhos. Sua única tristeza foi que, um dia, ao participar dos jogos atléticos, ele arremessou um disco que foi levado a uma distância excepcional por uma rajada de vento. O disco atingiu e matou acidentalmente um velho. Tratava-se de Acrísio, o avô de Perseu e, com isso, finalmente, cumpriu-se o oráculo do qual um dia o velho tentara se livrar. Mas Perseu não tinha um espírito rancoroso ou vingativo e por causa dessa morte acidental, não quis governar o reino que era seu por direito. Em vez disso trocou de reino com seu vizinho, o rei de Argos e construiu para si uma poderosa cidade, Micenas, onde viveu uma longa vida com sua família, com amor e honradez.
The ancient city of Zeugma was originally founded, as a Greek settlement by Seleucus I Nicator, one of the generals of the Alexander the Great, in 300 BC. King Seleucus almost certainly named the city Seleucia after himself; whether this city is, or can be, the city known as Seleucia on the Euphrates or Seleucia at the Zeugma is disputed. The population in the city was approximately 80,000.
In 64 BC Zeugma was conquered and ruled by the Roman Empire and with this shift the name of the city was changed into Zeugma, meaning "bridge-passage" or "bridge of boats". During the Roman rule, the city became one of the attractions in the region, due to its commercial potential originating from its geo-strategic location because the city was on the Silk Road connecting Antioch to China with a quay or pontoon bridge across the river Euphrates.
In 256, Zeugma experienced an invasion and it was fully destroyed by the Sassanid king, Shapur I. The invasion was so dramatic that Zeugma was not able to recover for a long time. To make the situation even worse, a violent earthquake buried the city beneath rubble. Indeed, the city never gained the prosperity once achieved during the Roman rule.
In the 4th century, Zeugma and environs became a Late Roman territory. During the 5th and 6th centuries the city was ruled over by the Early Byzantium domination. As a result of the ongoing Arab raids the city was abandoned once again. Later on, in the 10th and 12th centuries a small Abbasid residence settled in Zeugma.
Finally a village called Belkis was founded in the 17th century. Later on Belkis/Zeugma became one of the four major attractions of the Kingdom of Commagene.
Knidos (Cnidus)
Ancient City, Turkey
Written By: The Editors of Encyclopaedia Britannica
See Article History
Cnidus, ancient Greek city on the Carian Chersonese, on the southwest coast of Anatolia. The city was an important commercial centre, the home of a famous medical school, and the site of the observatory of the astronomer Eudoxus. Cnidus was one of six cities in the Dorian Hexapolis and hosted the Dorian games every four years. The Cnidians claimed they were of Spartan origin.
First founded on the southern coast of the Reşadiye peninsula, it was moved in c. 330 bc to Deveboynu Burnu (Cape Kriyo), where a small island was artificially joined to the mainland. One of the two harbours thus created served ships of war, the other merchant shipping. Cnidus founded colonies on Lipara, north of Sicily, and at Black Corcyra (modern Korčula, Croatia) in the Adriatic Sea.
After a vain attempt to convert their peninsula into an island, the Cnidians submitted to the Persians soon after 546 bc; they supported Athens in the Delian League against Persia but revolted against Athens in 412. Cnidus became a democracy in the 4th century bc and was under Ptolemaic control in the 3rd century. It was a free city within the Roman province of Asia, enduring until the 7th century ad, when it was abandoned.
C.T. Newton, excavating the site in 1857–59, found a marble statue of the seated Demeter there. Later excavation revealed the axial plan of the ancient city, a few private dwellings, and numerous public buildings. The most significant of these is the Temple of Aphrodite, a circular Doric temple, excavated by Iris C. Love in 1970. At this site Love found the marble base and fragments of the famous statue of Aphrodite sculpted by Praxiteles in the 4th century bc. The statue, one of the most celebrated in classical antiquity, was purchased by the people of Cnidus after the citizens of the Cos had rejected it on account of its nudity.
www.britannica.com/place/Cnidus
www.triphistoric.com/historic-sites/knidos
The Lion of Knidos
www.britishmuseum.org/research/collection_online/collecti...
DEMETER FROM KNIDOS
The sculpture of Demeter, found in her sanctuary at Knidos in 1858, was first recorded in modern times by English travelers in 1812. The inherent pathos of the figure – the deep-set eyes and other facial characteristics – is often associated with works of the 4th century BCE. sculptor Skopas. However, the work is also often attributed to other sculptors, and some sources date the origin of the work to later centuries.
Here, Demeter is shown seated on a throne - the back part and arm-rails have broken away and are missing. Her lower arms and hands are also lost, though she probably once held a libation bowl or torch. The head was carved separately from the body and socketed into the neck. Demeter is portrayed as a model of Greek womanhood - serene, mature, motherly and modestly veiled. It is speculated that the piece may have originally been accompanied by a standing figure, presumably Persephone. It is also speculated that weary in her search, she sits alone.
Historical Context:
The Sanctuary of Demeter at Knidos was laid out at about the same time as the re-founding of the city, around 350 BCE. The sanctuary consisted of a long platform terraced into the side of an acropolis, with spectacular views of the city below and the sea beyond. Many votive sculptures were once displayed within the sanctuary. Most of these survive only as fragments, but this cult statue of Demeter herself is remarkably intact.
www.britishmuseum.org/research/collection_online/collecti...