Myths of Greeks Research paper (1800-2400 words)

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Myths of Greek

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Research paper specifications

"Write about the following topic for your paper. You should use a combination of primary (ancient sources listed at the end) and secondary sources; five to six sources must be used. You may NOT use basic encyclopedias. No more than two of your sources may be Internet-based. (“Internet-based” means that a source was created for and is only available on the Internet. An article that first appeared in a print journal that is now available on the web would not, for example, be considered Internet-based.)

Research Topic: Consider Zeus, research and report on the different ways in which he is represented visually in media such as sculpture or painting. Does the manner of representation change over time? Which episodes from your figure's life are represented most frequently? This paper should have a diachronic perspective—i.e., examine visual representations from several artistic periods, such as Hellenistic, Medieval, Renaissance, Baroque, etc.

Format requirements:

The paper is to be 1800-2400 words long, exclusive of title page, reference list, and illustrations.

The paper should have a title page stating the title of the paper and your name.

Margins are to be 1.5" on the left margin, 1" on all other margins. Do not put extra lines between paragraphs. In general, eschew the standard space-filling tricks.

Use a 10-point or 12-point font; you must use a standard font such as Courier, Times New Roman, or Arial; do not use a cursive or "script" font.

Text should be double-spaced throughout the paper. If used, footnotes should be single spaced.

I am mandating certain common systems for the citations and reference lists. This is either the MLA or APA style if you are using in-text citations in parentheses, or the format used by the periodical Hesperia if you are using footnotes; the latter is a nice, clear academic style that is easy to follow. You can find the full details at http://www.ascsa.edu.gr/pdf/uploads/Guidelines10-13.pdf; a copy of the Hesperia guidelines will be available on Blackboard, too. The parts on preparation of manuscripts are not really relevant; most of what you need to know is on pages 8-11 of that publication. For MLA or APA, you should use a standard style manual. We will practice all three types during the course of the class.

NOTE CAREFULLY: page references are required with your documentation of modern sources, whether you employ MLA, APA, or Hesperia format. You are typically not citing science articles that are 1-4 pages long, so page numbers are necessary. Citations of ancient sources will follow the system I outline below and that we will practice in class. I will deduct five points from the paper grade for improper note or reference list format.

Examples:

Hom. Il .2.100 = Homer, Iliad, Book 2, line 100.

Verg. Aen. 3.110-156 = Vergil, Aeneid, Book 3, lines 110-156.

Hdt. 2.91.3 = Herodotus, Histories, Book 2, Chapter 91, Section 3.

Xen. An. 1.10.6 = Xenophon, Anabasis, Book 1, Chapter 10, Section 6.

Plaut. Mil. 2.3 = Plautus, Miles Gloriosus, Act 2, Scene 3.

Plut. Vit.Flam. 2.3 = Plutarch, Life of Flaminius, Chapter 2, Section 3.

Suet. Vesp. 19 = Suetonius, Life of Vespasian, Chapter 19.

Callim. Hymn 2.50 = Callimachus, Hymn to Apollo, line 50.

Tac. Ann.4.38 = Tacitus, Annals, Book 4, Chapter 38.

I encourage you to use illustrations when appropriate for your topic. Xeroxes, however grainy, are perfectly satisfactory for this purpose. If you use illustrations, you must make specific reference to them in the text. They should be labeled as "Fig. 1, Fig. 2, Fig.3...." Do not simply xerox a bunch of pictures and add them to the end of the paper without working references to them into the text. Please do not incorporate the illustrations onto the same page as your text. Put the illustrations on separate sheets of paper and group them at the end.

Note on the texts we are using: Those are the ancient sources that should be used in this paper (at least 3)

Hesiod’s Theogony is a Greek poem divided into lines. The Theogony, along with Homer’s Iliadand Odyssey are the earliest extant pieces of Greek literature, dating to the 8th century BC.

Apollodorus’ Library is a Greek prose work divided into books and sections. The sections are given by numerals in bold type within the text. There are three regular books in which all or most of the original text has been preserved. The section on Phineus and the Harpies, for example, would be cited as 1.120 (i.e., Book 1, section 120). There is an also an epitome(summary) of sections that are incomplete or lost. Readings from the epitome are prefaced with a capital “E.” The section on the Judgment of Paris would be cited as E3.2 (i.e., Epitome, section 3.2). Virtually nothing is known about Apollodorus himself, and the date of the work is uncertain but probably falls within the 1st or 2nd century AD.

Hyginus’ Fabulae is a Latin prose work that starts with a theogony (origin of the gods) at the beginning, and then each story is numbered sequentially. Heracles’ labors, for example, are listed in Hyginus 30. As with Apollodorus, practically nothing is known about Hyginus for certain and the date of the work is the 1st or 2nd century AD.

Ovid’s Metamorphoses is a long Latin poem divided into books and lines. Ovid lived in the 2ndhalf of the 1st century BC and was a contemporary of the Roman emperor Augustus. Numerous poems of Ovid survive, but the Metamorphoses is by far the best known and was the primary source of Classical mythology for people living in the Middle Ages.

Sophocles’ Theban Plays are three separate Greek plays performed at different dramatic festivals. Each play is divided into lines. These works were written and performed somewhere between 440-401 BC, with the last play Oedipus at Colonus actually finished in 406 BC, the year of Sophocles’ death, but not performed until several years later.

Aeschylus’ Oresteia is a Greek trilogy of plays (Agamemnon, Libation-Bearers, and Eumenides) performed at the same dramatic festival in 458 BC. Each play is divided into lines.

Greek and Latin poetry does not work on the basis of rhyme or sequences of stressed syllables, as English poetry does. Rather, it works by sequences of long and short syllables. Hesiod’s Theogony and Ovid’s Metamorphoses are written in a meter called dactylic hexameter. The plays by Aeschylus and Sophocles use a base meter called iambic trimeter for dialogue, and a great variety of other meters for the parts sung by the chorus.

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Explanation & Answer

Attached.

Surname 1
Name
Professor
Course
Date
Visual Representation of Zeus
The Greek god Zeus is considered the most powerful of the Olympian gods and
the god of the sky. As the supreme ruler of the gods, Zeus has received a lot of attention
in Greek mythology and has particularly been portrayed frequently in visual media. The
presentations of Zeus in visual media has mainly been through statues made for his
worship or honor, pottery with his images, paintings from different artists, and even in
the Greek currency engraving of his bust. These presentations of the supreme ruler in
Greek mythology differ from one period in history to the other and also the media used to
present the visualization of the Greek god.
The portrayal of Zeus in visual art changed over the periods of history and mainly
depended on the features that were commonly identified with the god at the moment.
However, generally, Zeus has been portrayed in visual media as a powerful figure in the
command that is associated with his gait and fatherly figure. The common presentation of
Zeus has been one of a male with hair (often varying in length) and a massive beard
which is often rounded but may be pointed forward in some of the presentations. Another
common presentation is where the god is presented as launching a thunderbolt or holding
a scepter in one of his hands, or even being accompanied by an eagle. Overall, Zeus has
been presented in positions of power whether sitting on a throne or simply domineering
in the space of the media presentation.

Surname 2
The presentation of Zeus in visual art can be seen from the classical period of
history. The first depiction of Zeus to be reviewed is one depicted in a classical vase,
circa 450 BC. In this image of Zeus, he is depicted as a lean man with dark hair and a
pointed beard (Figure 1). Further, the image is made of red clay with a black background.
In the image, Zeus wields a scepter in his left hand while casting his right hand forward
as if summoning some power into the sky. Further, his hair is held into place by a wreath
of olive leaves. This classic work of art portrays some of the common features of the god
as depicted in many other works including the scepter, the dark hair, and the power over
the skies. Another red figure of Zeus holding a scepter is seen in the 5th century BC and
this piece of art also presents him in full body stature, a pointed beard, and short dark hair
on which there is a wreath of olive leaves (Figure 2). The only difference, in this case, is
that Zeus holds his scepter in his right hand with the left holding a bunch.
Another commonly portrayed image of Zeus is a bronze sculpture that dates back
to circa 460 BC (Figure 3). In this bronze sculpture, the presentation of Zeus changes
from the previous depiction of the red figure. Here, he is dark and has shorter hair.
However, as in the previous description, his hair has a wreath of olive leaves and his
beard is pointed at the bottom. However, characteristic of this sculpture is that Zeus is
portrayed as having dark hollow eyes. Essentially, in this image, he seems angry and
dark. This anger and the intent to destroy can be seen in numerous times that Zeus is
portrayed as being angry. For instance, when dealing with Prometheus who had angered
him, he is stated to have “grew angry around his breast, and bitter bile entered his mind”
(Hesiod. Theo. 554). This depiction of anger in Zeus is probably one of the influences on
this work of art.

Surname 3
Moving on from the classical presentation of Zeus mostly seen in pottery, the
Hellenistic period also provides a wealth of contribution towards the visual presentation
of Zeus. The first presentation to be reviewed is the Greek currency with Zeus’ head
engraved on it circa 330 BC (Figure 4). In this visual portrayal, the image of Zeus
changes again from the red portrayal and the bronze sculpture. In this particular work, a
side view of the god is captured. He faces to the right-hand side of the viewer and
presents an up-close presentation of his features. As in the other presentations, his head
has a wreath of olive branches. However, unlike the previous presentations, his beard is
less pointed and shorter. His hair is comparatively longer and it flows to his shoulders.
Following the chronological order of the timeline in history would then into the
Hellenistic period in Greek history. One of the most notable visual presentations of Zeus
is the Roman Mable commonly known as Zeus Ammon circa 120-160 AD (Figure 5).
Zeus Ammon is a quite different depiction of the image of Zeus but still retains the
commanding and powerful look of a father with a beard and hair. The sculpture presents
Zeus with a more rounded beard than the former presentations where his beard was
pointed. Also, his hair drapes to the shoulders. The distinguishing feature of this
presentation is the ram horns placed at the top of his head and integrating into the hair.
These ram horns could be attributed to the Egyptian god Ammon. As it can be seen, the
sculpture comes after Alexander had visited the sanctuary of Siwah in Ammon’s territory
(Spivey 230). Therefore, it could be taken that the work of art was influenced by the
Egyptian cultural input into the Greek culture and mythology.
In yet another Roman marble sculpture from the second century, Zeus is
portrayed while seated with one of his arms raised above his head. The sculptor presents

Surname 4
him shirt...


Anonymous
Awesome! Perfect study aid.

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