Personal Narrative-A Career As A Social Tracter

Dionysus is the god of wine and fertility, however also became considered a patron of the arts. Along with the variety of things Dionysus was associated with, he is associated with some important concepts. These are, being able to bring a dead person back from the underworld, rebirth after death represented through the symbol of his tending to vines to bear fruit for the making of his wine. There is also the feeling of being possessed by a greater power – which he demonstrated via the influence had from wine. This means that the greater power is the wine – that at these times a man might be greater than himself and do works he otherwise could not.

This work of art is a mix of naturalism and verism. The beautiful perfect skin, the appropriately proportional body and the beauty of young Dionysus are much idealized. The god of wine doesn’t have the body structure of an athlete; however, the body features and muscles are quite in proportion and yet humanized. Dionysus’ face is very humanlike because it displays a certain sense of kindness and relaxedness. There is no sign of stress, discomfort, or detachedness on his face. Dionysus has his left leg crossed over his right leg and he is leaning on Pan on his left. Dionysus’ unique pose is a varied version of contrapposto pose which was so common in the High Classical sculptures. This pose means that the weight of the body is supported by one leg, right leg in this case. This pose illustrates relaxed state of mind and makes the audience feel that Dionysus is at ease. He also has his left hand resting on Pan while holding the wine cup. This shows that Dionysus is trusted by Pan and Pan is also trusted by him because Pan has his right arm around Dionysus’ waist. This close distance mainly

Dionysos is defined as the god of wine, festivity, vegetation, pleasure, and divine intoxication. In the Hope Dionysos, he is depicted as a peaceful and joyful figure that represent happiness in Greek mythology. The statue is sculpted from marble as its medium and is classified as a stone

I chose to compare and contrast two works of art that featured the god Dionysos. Dionysos was a god of celebration and wine, promoting both the intoxicating power of wine and its social benefits for bringing people together. He was an advocate of peace and a promoter of peaceful civilization. Both The Hope Dionysos and the Triumph of Dionysos and the Seasons Sarcophagus represent why Dionysos was such an important and celebrated figure in mythology, which is why I chose to analyze two works of art that centered on him. My first impression of each piece was of Dionysos as a peaceful, benevolent and joyful figure. I was struck by the calm peacefulness he embodied in The Hope Dionysos and the happiness he shared on the Triumph of Dionysos and the Seasons Sarcophagus. Though there are many elements to compare and contrast, my analysis will show that both pieces are tributes and representations of Dionysos meaning and purpose in Roman art.

Dionysus was the Greek god of wine, theater, fertility and ritual madness, and was worshipped for centuries, but how he was depicted varied greatly throughout time. The “Dionysus Cup,” (fig. 2) a black-figure painted clay pot, was created by the Athenian artist Exekias between 540 and 530 BCE, at the end of the Archaic period. The “Free-standing Dionysos with a panther,” (fig. 1) a marble statuette, was sculpted by an unknown artist between 150 BCE and 100 CE, at the end of the Hellenistic period, or up to the height of Roman dominance in the Mediterranean. These two images of Dionysus are dramatically different in their composition and content. The differences between these objects reflect the shifting role of Dionysus in Greek mythology

As the embodiment of wine, Dionysus was a prevalent god in everyday Grecian life; it is evident through archaeological findings that wine and theatre has always been an important part of life in Greece. The Greeks knew the nutritional value of wine as it became a part of their daily regimen and also played a huge role in the evolution of the Ancient Grecian economy. Many festivities were held in honour of Dionysus, such as the celebration of wine known as “Anthestiria”

The God of wine, bearded Dionysos is crowned with a wreath of ivy. He is standing in the middle and holding a rhyton, a drinking horn, in his left hand and large grape vines in his right hand. There are two figures on the left side from him and the other two figures on the right side from him. Those figures are dancing satyrs and maenads – the God’s regular companions. The majority of the elements of the image establishes the vertical symmetry with Dionysos in the middle as a focal point, and only hands of maenads pointing at the God represent diagonal movement. The composition of the image is not unique, and we can find similar outlines with some alternations on many different vases. For example, the Athenian black-figure amphora from Ruhr University collection (Bochum) shows Dionysos with a drinking horn and ivy between dancing satyrs. The subject of the scene itself have no narrative content and may represent pleasure and joy of life or trances. Anyhow, “when joined to the theme of Herakles and his first Labor, Dionysus and his retinue may represent a premonition of the hero’s impending victory in all twelve Labors, leading to his apotheosis and eternal life among the Olympian gods — where he enjoyed Dionysian bliss and the pleasure of wine.” (Phoenix Ancient

“For many years he lived on earth among men He was the son of Zeus, though he was brought up on earth by forest-spirits. Perhaps it was from these that he learned to love fresh growing plants and climbing vines full of fruit; but however that may be, he became the god of the grape and of wine”. When Dionysus was grown , he did not join the other gods on Mount Olympus just yet, but set out on a long journey, through all the countries of the world, teaching men and women everywhere how to plant and tend to a grapevine, and how to press the juice from the ripe fruit, and make it into wine. This is how the world learned the secrets of winemaking because Dionysus gave the world the gift of

This sculpture was given the title, “Dionysus,” and is dated at 50 – 150 A.D. During that period, the Roman Empire went through a civil war, multiple rebellions, a couple disastrous fires, the building of the Colosseum, the eruption of Mount Vesuvius, the peak of Roman military expansion and thirteen different Emperors. One of which started the Flavian Dynasty, which would bring stability to the empire that was crumbling because of financial strife. With all of these events happening, good and bad, it seems difficult to pin point the inspiration or message behind this sculpture. But if you break that period of time down into parts, it may be easier to get a feel for what the artist was feeling so strongly about, whether it was inspired by

Dionysus is described as “sometimes man’s blessing, sometimes his ruin” (67). He can be joyous as well as brutal. This befits the god of wine because wine can be good and bad. Wine “cheers and warms men’s hearts; it also makes them drunk” (70).

Dionysus is the God of wine, vegetation, pleasure, festivity, madness and wild frenzy. He has a thyrsus which is a staff of giant fennel covered with ivy vines and leaves, topped with a pine cone. He is the son of Zeus and princess Semele of Thebes. Before he could be naturally born, His mother Semele was tricked by Zeus’s wife, because of jealousy, to get killed accidentally by Zeus. He killed her with his lightning that he had struck her with. After Zeus had killed her, he recovered his son. He was worshiped between the time of 1500-100BC. He’s often referred to as Bacchus.

Dionysus is an important figure of Greek mythology. He is the Olympian god of wine, vegetation, festivity and pleasure. He represents humanity’s longing for pleasure and desire to celebrate. Dionysus is also the god of hallucination, theatre, reincarnation and homosexuality. He is called: “the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god…” (Roman 201).

The history of mental health in the United States show a robust movement towards the mental healthcare system we have today. Prior to the 19th century, individuals with mental health issues were widely considered to be demonically possessed, thus contributing to the stigmatization of mental illness and the proliferation of poor treatment conditions. However, in the 1800s, there was a dramatic change in mental healthcare in the U.S. The government took a proactive role in treating the mentally ill, leading to the dawn of state psychiatric facilities.

Godly colossal Greek epic, “The Iliad” constituted by the poet named, Homer, articulate the chronicle of the Brobdingnagian Trojan War. It is swarming with the interventions of the gods enchanting their coveted mortals (humans) and altering the heterogeneous scenes of the Trojan War. In this poem, gods have an assortment of relationships with humans which include love, fornication, and mother or father relationships. Gods interact with mortals in human shapes and stimulate them. Also, gods cognize that every human is eventually destined to die and they anticipate humans to pray to them for every obstacle humans encounter. However, for humans gods are omnipotent, authoritative, dominant, and immortals, who they supplicate to if they have

Throughout high school, I continuously explored a wide variety of courses in an attempt to figure out what career path I may want to pursue. As senior year drew closer, the business field became more enticing. Furthermore, my aspirations were significantly impacted on the evening of September 14, 2016. I woke up that day and left for school as if it were any other day. After school, I drove to the softball field because we had a game and it just so happened to be Senior Night: the last home game. When it came time for my first at bat, I stepped up to the plate and hit a line drive between the first and second basemen, successfully making it to first base. The next player up to bat hit a double; I rounded second and sprinted for third. I clearly remember my coach kneeling on the ground to signal me to slide into third base. For some unknown reason, I hesitated and slid too late. I knew it was a bad slide, but I was focusing on whether or not I was safe. Then reality set in, I was safe, but I was not physically capable of standing up.