CLAS180-EXAM-1-NOTESHEET

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Anthropology

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Apr 3, 2024

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CHAP 1 : What is a myth? William R. Bascom: -> American anthropologist -> Myths have high emotional content -> Discuss the sacred; -> Happen in remote past Don Cupitt: -> British theologian -> Myths discuss sacred; -> represent traditional beliefs; -> are passed down by oral tradition 3 FORMS OF PROSE NARRATIVES Both Bascom’s and Cupitt’s definitions are exclude (loại trừ): - Myths in form of visual art, drama, poetry - Works with known author; - Stories that do not include supernatural beings; - Stories do not describe the sacred. William G.Doty - context of mythological corpus: (3- point definition: form, content, function) - Myths can be told in many forms that are always rich in metaphors and symbols. - Myths are defined by values and meanings they promote; - Myths serve a purpose for individuals, groups, societies. What is Classical Mythology? Myths from Ancient Greece (AC): - Classical mythology refers to the myths of ancient Greece and Rome; - AC wasn’t a nation, but refers to places where Greeks lived; - Many of the poems that tell these myths originated in the Archaic Period, including the Iliad, the Odyssey, and the Homeric Hymns, and Hesiod’s Theogony, Works & Days. - These weren’t considered sacred texts but are important for making sense of Greek gods goddesses. - In Classical period, Greeks began to examine their myths, expressing skepticism about the gods: -> Tragedians wrote plays about the gods, and the Histories of Herodotus contains stories about them. -> Philosophers began to question myths using rationalism. - During the Hellenistic Period, Greek scholars began to collect myths: -> Roman scholars continued this practice of recording antiquity; -> By the fifth century CE the Roman Empire had become Christianized, and the mythological system became quiescent. Myths from Ancient Near East: - Greece was a relative newcomer compared to the empires of the ancient Near East; - The Hittite Empire ruled Anatolia from the 18th through the 14th centuries ВСЕ; - Hittite creation myths share similarities with Hesiod's Theogony; - The Hittites may have had contact with early kings of Troy; - The religious and cultural ideas of the Levant were spread throughout the Mediterranean by the Phoenicians; - They were skilled sailors who developed a powerful trading empire. - The Israelite residents of the Levant were isolated by their monotheistic beliefs; - There are still similarities between Greek and Hebrew ideas of a moral universe and between stories like that of the flood; - The Epic of Gilgamesh was a Sumerian myth, though it was written down during the Babylonian Empire; - Gilgamesh and the Atrahasis have similar narrative patterns to Greek myths; - Early contact between Greece and Egypt is well documented, and scholars question how much African influence, through Egypt, made its way into Greece. Myths from Ancient Rome: - Rome’s mythological system was transformed by contact with Greece; - Roman stories like that of Romulus and Remus predate contact with the Greeks, but most Roman myths have obvious Greek origins. - Most Roman myths aren’t sacred narratives, but this does not make the not myths. How do we make sense of Classical Myths? - Each chapter divided into 4 sections: + History : addresses the form and content of myths, provides an overview of the chapter’s subject in context; + Theory : surveys the ways scholars have explained the function of myth; + Comparison : looks at myths from neighboring societies to offer a regional perspective; + Reception : studies modern and contemporary art that depicts and interprets Greek myths. Why study Classical Myths? - Mythic forms of thinking still inform how we view and understand the world in the 21 st century, according to philosopher Mary Midley. - Understanding our myths is the first step toward not being controlled by them. RELATED QUESTIONS: 1. Theogony: Vast network of Greek gods and goddesses. 2. Olympian: Gods who were imagined to dwell on mount Olympus in the skies. 3. Early Bronze Age: 3000-2100 BCE 4. Middle Bronze Age: 2100-1600 BCE 5. Late…………………..(Mycenaean): 1600-1150 BCE 6. Iron Age: 1150-750 BCE 7. Archaic Period: 750-490 BCE 8. Classical Period: 490-323 BCE 9. Hellenistic Period: 323-30 BCE 10. Imperial Roman Period: 30 BCE - 476 CE 11. Mythological Corpus: A group of myths - particular society, religious group within a society, or even a work of art that epitomizes a society’s aesthetic values (network and form, content and function). 12. Myth: Religious, political and cultural values. 13. Rome: Conquered Greece in 146 BCE 14. Ancient Athens: 12 gods 15. Function of a myth: refers to the purpose that a myth serves for individuals, groups or society as whole. 16. Content of a myth: is composed of the religious, political and cultural values and meanings about self, society, cosmos that it offers, which are often hidden in a myths metaphors, symbols, images and stories.

17. Greek word “mythos” mean: Mythos mean word, speech, tale or a story. Essentially, myth is a story. Myths may be a story narrated orally, given in written form, or through no words at all such as through art. 18. Classical mythology?: is both the body of and the study of myths from the ancient greeks and romans as they are used or transformed by cultural reception. 19. Give 2 reasons why modern distinction between myth/legend/folktale is not always helpful when discussing Greek myth?: + there’s a lot of crossover in these definitions; + there’s a lot of crossover within myths. 20. What kinds of truths do modern day myths/urban legends contain?: moral truths that can be applied modern life. 21. Logos (contrast to mythos): understanding the world through logic and reason. 22. 3-point definition: - Form: Oral-oral traditions literary-product of single literary author visual-paintings, statues, etc no matter the form, the myth will contain elusive symbols and metaphors. - Content: the elusive nature of the symbols and metaphors inspires the audience to engage with the myth the content is encoded in the myth's elusive symbols and metaphors the audience attempts to understand the symbols and metaphors and to make them no longer elusive- to discover the content content-important information concerning broad frame-works, such as: cultural customs, political structures, religious and ritual structures, and cosmology. - Function: Discovering and digesting the content encoded in the elusive symbols and metaphors allows the audience to integrate their individual experience into the broad frame-works or put another way, the function of a mythological corpus is to help an individual find one's place in (cultural customs, political structures, religious and ritual structures, cosmology) 23. 4 functions of mythology: (Joseph Campbell): Metaphysical/ Mystical + Cosmological + Sociological + Pedagogical. 24. Myth in archaic period (750-489 BCE): foundational: definition of deities, mythic figures, and the shape of the narratives become relatively set. Oral and visual. Ex: Homer (Iliad & Odyssey), Hesiod (Theogony & Works & Days), Homeric Hymns. 25. Myth in classical period(489-323BCE) inquisitive: myth is used to explore and interrogate established cultural narratives and norms literary. Ex from ancient Greek tragedy: Aeschylus (Oresteia- notions of justice), Sophocles (Antigone- power/gender roles), Euripides (Bacchae-notions of what the divine is). 26. Myth in Hellenistic period and beyond (323BCE- 500CE): retrospective: myth imitates myth from earlier eras in a learned, self-referential and highly stylized manner. Literary and visual. Ex: Callimachus, therocritus, ovid (roman), virgil (roman). CHAP 2: History: A Greek Creation Story - Reflect understanding of how the world works. - Set ethical, social and religious patterns for a society. - Provide explanations of the order of a society. Hesiod’s Theogony: - Began as oral history, recorded sometime in the archaic period. - Many scholars assume Hesiod is more fiction than fact. - Not considered sacred by ancient Greeks. - The work is not a single integrated poem but rather a collection of different types of oral poems: hymns (praise poems to the gods), catalogues (lists of places or events such as divine marriages and births), and dramatic tales (epic narratives with divine protagonists who take action). - Notice how all of these types are reflected in the long excerpt from Hesiod. Are they integrated into a coherent whole? How would the poem's structure have aided the memory for oral presentation? The Late Bronze Age: Mycenae was an important Bronze Age settlement in Greece. It was a fortified settlement, probably the home of the king (wanax), located on a hilltop. - Communities had complex social and economic networks. - Farmers and herders paid taxes in kind. - All classes served in the army. - Slavery was common. - Bronze Age settlements disappear soon after 1200 BCE. The Iron Age: Asca: the Iron Age is named after its use of iron for tools and weapons. - Few records remain from this period. - Hesiod’s Works & Days was composed at the end of this period. - Takes place in Ascra, on Mount Helicon in Boetia. - Hesiod's description of Ascra is backed up by the archeological record. - Kings have lost central authority. - Most residents are small, independent farmers. The Archaic Period: Olympia: - Towns developed into robust communities. - As kings gained more power and became tyrants, Greek cities developed a collective identity as a demos. The Archaic Period & Panhellenism: - Hellenic identity developed during the Archaic Period. - Maintained by Panhellenic sanctuaries and festivals. - Oral performances of works by Homer and Hesiod developed a shared understanding of gods and goddesses. - Led to a gradual homogenization of belief and worship. - Local variations on the traits and worship of gods remained. Alternative creation stories: - Philosophers of the Archaic Period imagined that a substance or process created the universe. - Orphic creation stories include gods not found in Hesiod. - Early gods were Phanes, Protogonus, Chronus as well as Zeus and Earth. The Theogony: Hesiod was instrumental in shaping Panhellenic ideas of the gods. - Theogony was a collection of oral poems. - Hymns. - Catalogues. - Dramatic Tales. - Described the Greek understanding of the creation of the universe. Hymns: Meant to be recited aloud. - Primary purpose is prayer to and praise of the gods/

- Hesiod’s hymn to the Muses praises them for inspiring his poetry. - Hymn to Hecate presents ger as a protective goddess. Catalogues: Genealogies of the gods. - Designed to be recited aloud. - Describes creation as a genealogy of the earliest gods. - Presents two methods of procreation:spontaneous and within marriage. Dramatic tales: - The dramatic tales describe how Zeus came to rule creation. - He imprisons chaotic gods. - Institutes marriage to control female reproduction. - Creates order and justice. Prometheus & Pandora: - Addresses both the institution of marriage and the ideal of order in society. - Prometheus steals fire to benefit humanity, his creation. - Zeus punishes the, by sending them Pandora. - Beautiful but deceitful, represented women. Theory: The social world shapes myth: - Bronislaw Malinowski placed myths within social context. - Only social context can explain the function of a myth for its society. - Myths can be 'charters': practical guides about how to behave for the people who hear them. Comparison: Levant: Creation Stories: - Enuma Elish, the Babylonian creation story, may have influenced Greek oral poetry. - Depicts the Gods as fighting the forces of chaos. - Genesis is distinguished by the Hebrew's monotheistic beliefs and focus on the creation of humanity. - It also emphasizes the creation of order. Reception: - Modern artists have used the Titans to symbolize rebellion against order; but also as emblems of strength. - Statues of two Titans, Atlas and Prometheus, adorn Rockefeller Center in New York City. - They reflect both the anxieties of the Depression and the determination to overcome it. - Both statues also reflect faith in technology and industry. CHAP 3: History: Order and Rebellion: - Zeus and Hera: Zeus was the center of Greek mythology, responsible for maintaining order in the cosmos. - Hera, his sis and wife represents challenges to his decrees. - The personalities of the Greek gods are variable. - They aren’t good models for human behavior. Cosmic Order: Thunder and Lighting - Zeus is called “father of gods and mortals” as a symbol of his divine authority. - Responsible for maintaining cosmic order. - As a sky-god, he is associated with thunder and lighting. - He was worshiped on mountaintops. - Greeks prayed to him for rain and storms to water crops. Human Order: Justice - Zeus was responsible for judging human actions. - He paid close attention to the actions of princes. - Used his power over weather and storms to punish those who did not act justly. - Zeus Meilichius (mild one) was worshiped in Athens to ensure a successful harvest. Divine Order: Kingship - Zeus has supreme power over the Olympic gods, but is constrained by his obligation to lead by example. - His obligations to the other gods sometimes prevent him for answering human prayers. Violence and Grace: - Zeus is seen as a god who uses violence, but who also gives grace to humanity. - The suffering caused by Zeus’ violence is the only way humanity can learn. - In myth, Zeus impregnates Leda in the form of a swan. Leda and the Swan: - The story of Leda is sometimes depicted as rape, sometimes as seduction. - Either story suggests that humanity cannot escape the will of Zeus, whether he uses violence or awe to get what he wants. Hera: - The marriage of Zeus and Hera is characterized by Hera’s fidelity and Zeus’ philandering. - Hera is depicted as subject to Zeus’ rule. - Her defining characteristic is her anger over his infidelity. Goddess of Heroes: Hera’s temple at Argos reflected the importance of her cult. - They celebrated the Hecatombaia in her honor every year. - She protected the power of Argos and its heroes. - She also protected women and children as a fertility goddess. Goddess of Fertility and Protection: - Hera had a large and wealthy temple at Samos, off the coast of Turkey. - Visitors from all over the Near east attended her festivals. - The rituals there associate her with fertility and the natural world. - Her role as a fertility goddess may have been limited in later centuries to fertility in marriage. Divine Consort of Zeus: - Hera may have originally been worshiped independently of Zeus. - As they associated as husband and wife her cult became less independent. - This may be reflected in her hostility toward Zeus in many myths. Zeus and Prometheus Bound: - Prometheus Bound, a play by Aeschylus, depicts Zeus’ cruelty toward both Prometheus and humanity. - Written and performed in Athens in the 5 th century BCE. - with the rise of

democracy and defeat of Persia, Athens was at its most wealthy and powerful. - The play reflects questions about Zeus’ role as king. Theory: Universal questions shape myth: - Modern scholars approach myths in 2 ways: + They study them within their unique historical contexts. + They study the shared features of myths from several societies. - Wendy Doniger attempts to bridge these 2 approaches with her studies of Hindu myths: + Argues that scholars must use a variety of approaches to myths in order understand the shared experiences behind them. + Uses historical linguistics to draw out similarities in myths from Indo-European- speaking cultures. Comparison: Levant: Flood stories - In the Ancient Near East, floods were considered sacred. - They were signs of divine displeasure or favor. - The Epic of Gilgamesh tells the story of humanity being saved from a flood by Utnapishtim, who was told by god Ea to build a boat. - The Babylonian Epic of Atrahasis tells a similar story. - A Greek myth depicting Zeus as the destroyer of humanity and Prometheus as it’s savior has many similarities with Near Eastern flood myths. In flood story from Hebrew bible, there is no other god to save them. Reception: Leda and the Swan in Modernist poetry - Modern artist Marie Laurencin conceived of the encounter between Leda and the swan as a gentle seduction. - Similar to the retelling of the story in ‘Leda’ by modernist H.D. - In contrast, William Butler Yeats depicts the encounter as a violent rape. CHAP 4: History: Life and Death: Demeter and Hades: Demeter was the goddess of fertility. - Her mysteries, rites practiced in her honor at Eleusis, linked her to death. - Hades was the god of the underworld, brother of Zeus. - They are bound by the myth of the rape of Persephone, daughter of Demeter, by Hades. Hades: - The other gods have an aversion to Hades because of his association with death. - He was not the judge or punisher of the dead, so not feared by humans. - Hades was associated with caves, but there are not temples or festivals in his honor. The Underworld: - The underworld was divided from the lands of the living by 5 rivers. - Charon, the boatman, escorted souls across them and into Hades. - Cerberus, the many-headed guard dog, also prevents souls from leaving. - After death, souls wander eternally throughout the Underworld. - Punishments are reserved for special cases, as are rewards. Funerary Rituals: In greece, they served ti help the soul of the dead reach the Underworld. - Women prepared the body for burial. - Burials were accompanied by mourning songs and a feast. - offerings continued to be made to the dead for a month afterward. Demeter: - Rituals tied Demeterto the annual agricultural cycle. - The Proerosia was a ritual plowing of the fields. - The Haloa used fertility symbols to ensure the safety of the planted seeds. - Both were performed solely by women. Thesmophoria: A Fertility Ritual: - Another all-female rituality used similar symbols to the Haloa. - For 3 days, women worshiped Demeter and Persephone. - Fertility symbols used sympathetic magic to associate agricultural fertility with human fertility. The Eleusinian Mysteries: - Home describes Demeter as wandering to Eleusis in search of Persephone. - She demands that a temple be built for her, and Persephone’s return from the Underworld symbolizes the benefits that initiates in Demeter’s mysteries will gain after death. - New members are initiated into the mysteries early in a weeklong festival. - Once initiated, they were able to take part in the secret rituals within the temple itself. Theory: Myths reinforce social norms - ‘Goddess feminists’ are individuals who study the spiritua; dimensions if feminism. - ‘Matriarchy studies’ is the study of societies where women held power. - Marija Gimbutas imagined a Neolithic Europe of female-led egalitarian societies. - Classicist Helen P. Foley considers how women were empowered by the worship of goddesses like Demeter. - To Foley, myths like Demeter’s teach Greek women to accept patriarchal rule. Comparison: Mesopotamia The Sumerians first occupied Mesopotamia around 5000BCE. There were conquered by the Akkadians and the mingling of the 2 languages and cultures led to a unique set of Mesopotamian beliefs and myths. Dying and Rising Gods: - Both the Sumerians and Akkadians have myths that describe a goddess going to the Underworld in search of her love. - Other gods like the Greek Adonis and the Phrygian Attis are believed to annually descend to the Underworld and return. - Persephone is unique as the only female. Reception: Persephone in Contemporary Women’s Poetry: - Contemporary poets have pursued the question of Persephone’s agency. - Rita Frances Dove turns the story of Persephone into a modern narrative of rape. - Rachel Zucker describes a Persephone who goes with Hades willingly. - Alison Townsend focuses on Persephone’s experience of the loss of her mother. CHAP 5: History: Love and Strife Aphrodite and Eros: - are associated with desire and romance. - Eros is either Aphrodite’s son or companion. - Their behavior is fickle, representing the nature of desire. - They are also associated with conflict and violence, as in Sophocles’ Antigone. History: Love and Strife: - There are 2 stories of Aphrodite’s birth: she is either the daughter of Zeus and Dione, or produced when Uranus was castrated by Cronus. - Her title of Philommedes represents her association with sexual desire unmitigated by social consideration. - It can also be translated as ‘laughter-loving’.

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