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#ancientgreek

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In Greek mythology, Europa (/jʊəˈroʊpə, jə-/; Ancient Greek: Εὐρώπη, Eurṓpē, Attic Greek pronunciation: [eu̯.rɔ̌ː.pɛː]) was a Phoenician princess from Tyre and the mother of King Minos of Crete. The continent of Europe is named after her. The story of her abduction by Zeus in the form of a bull was a Cretan story; as classicist Károly Kerényi points out, "most of the love-stories concerning Zeus originated from more ancient tales describing his marriages with goddesses. This can especially be said of the story of Europa."
Source: Wikipedia

📸 Statue of Europa representing Europe at Palazzo Ferreria
Author: Continentaleurope
This file is licensed under https://creativecommons.org/licenses/by-sa/3.0/deed.en

#mythology #greek #ancientgreek #phoenicia #princess
#statue #europe #ancientgreece #greece #antiquity #greekmythology #mythology #history

#introduction for my lovely new server.

I'm David (most contexts) or Stacktrace (#RollerDerby). I'm a software engineer at #Slack and I love building #FOSS (#Python, #Django, #Rust, and #Nix).

I made:

- stave.app, volunteer management for roller derby.
- paytransparency.work, tracking pay transparency laws.
- bibliothekai.ktema.org, cataloging translations of Greek & Roman classics.

My non-tech interests are #AncientGreek, my beloved #dachshund Mishka, botanic gardens, and #SciFi.

Happened upon that epigram from a 4th c. Greek poet, quoted by 19th c. French author Prosper Mérimée (he wrote the novella Carmen, on which the opera is based):

Πᾶσα γυνὴ χόλος ἐστίν˙ ἔχει δ’ ἀγαθὰς δύο ὥρας, τὴν μίαν ἐν θαλάμῳ, τὴν μίαν ἐν θανάτῳ

Quite clearly: misogynistic humour is timeless…

Been reading a collection of Xenophon’s shorter writings.

I’m rather amused by his list of suitable dog names.

Psychē — Soul
Thumos — Spirit
Porpax — Shield Handle
Sturax — Spear Spike
Lonchē — Lance
Lochos — Ambush
Hēba — Youth
Gētheus — Delight
Chara — Joy
Leusōn — Looker
Augō — Sunlight
Polus — March
Phroura — Lookout
Phulax — Guard
Taxis — Order
Xiphon — Sword
Phonax — Bloodlust
Phlegōn — Fiery

1/2

Get ready for our first-ever AISL Podcast episode about a Greek object! 🍷⚔️

See here: tiny.uzh.ch/1Lr

We're exploring the Sarpedon Krater (image right), a stunning ancient vase that takes us back to the world of Greek myths and symposia.

Join us as we uncover the story behind this masterpiece:

🎨 The innovative artist Euphronios and his groundbreaking red-figure technique.
🏺 The poignant scene of Sarpedon's death and its connection to ancient Greek values.
🏛️ The journey of the krater from Athens to Italy, raising questions about antiquities and the art market.

Don't miss this epic tale! 🎧

Spencer's translation below seems pretty accurate to me...

From: Was #Sappho Really a Lesbian?

by Spencer McDaniel
Posted on August 14, 2021

"Ancient versus modern concepts of sexuality

"Before we delve into the issue of Sappho’s sexuality, I feel that it is important to discuss the differences between ancient and modern concepts of sexuality. Generally speaking, most people living in the English-speaking world in the twenty-first century tend to assume that each person has an innate sexual orientation that remains fixed throughout their life and is a defining aspect of their identity. In other words, each person is inherently 'straight,' 'gay,' 'bisexual,' or something else.

"The ancient Greeks, however, generally did not think about sexuality in these sorts of terms. In fact, there are no words in Ancient Greek that are equivalent to the English words 'straight,' 'gay,' or 'bi.'

"The ancient Greeks did, of course, recognize that most people have some degree of preference for sexual partners of a certain gender. Unlike modern people, however, they did not generally see these preferences as being written in stone and they did not usually regard a person’s sexual preference as a fixed, innate part of their identity. An anonymous ancient poem in the Greek language that is preserved in the Greek Anthology 5.65 illustrates this ambivalence quite succinctly:

“Αἰετὸς ὁ Ζεὺς ἦλθεν ἐπ᾽ ἀντίθεον Γανυμήδην,
κύκνος ἐπὶ ξανθὴν μητέρα τὴν Ἑλένης.
οὕτως ἀμφότερ᾽ ἐστὶν ἀσύγκριτα· τῶν δύο δ᾽ αὐτῶν
ἄλλοις ἄλλο δοκεῖ κρεῖσσον, ἐμοὶ τὰ δύο.”

"This means, in my own translation:

“As an eagle Zeus came to godlike Ganymedes
and as a swan to the tawny-haired mother of Helene.
In this manner, the two [passions] are incomparable. Of the two,
one seems better to some; for me, both are good.”

Read more:
talesoftimesforgotten.com/2021

#GayHistory #AncientWomen
#AncientHistory #AncientSexuality #AncientGreece #Histodon #Classics #AncientGreek #Poetry

Tales of Times Forgotten · Was Sappho Really a Lesbian? - Tales of Times ForgottenOne of the questions that I have frequently encountered online in discussions about ancient Greece is the question of whether the ancient Greek lyric poet Sappho (lived c. 630 – c. 570 BCE) was really a lesbian. On the surface level, the answer to this question seems like an obvious “yes.” After all, Sappho wrote … Continue reading "Was Sappho Really a Lesbian?"
Continued thread

"Women on the Edge, a collection of #Alcestis, #Medea, #Helen, and #Iphegenia at Aulis, provides a broad sample of Euripides' plays focusing on women, and spans the chronology of his surviving works, from the earliest, to his last, incomplete, and posthumously produced masterpiece. Each play shows women in various roles--slave, unmarried girl, devoted wife, alienated wife, mother, daughter--providing a range of evidence about the kinds of meaning and effects the category woman conveyed in ancient #Athens. The female protagonists in these plays test the boundaries--literal and conceptual--of their lives.

"Although women are often represented in tragedy as powerful and free in their thoughts, speech and actions, real Athenian women were apparently expected to live unseen and silent, under control of fathers and husbands, with little political or economic power. Women in tragedy often disrupt 'normal' life by their words and actions: they speak out boldly, tell lies, cause public unrest, violate custom, defy orders, even kill. Female characters in tragedy take actions, and raise issues central to the plays in which they appear, sometimes in strong opposition to male characters. The four plays in this collection offer examples of women who support the #StatusQuo and women who oppose and disrupt it; sometimes these are the same characters."