Greco-Roman Mythology

Extended Course Description/Scope of Course:
This course will survey how myths were depicted in a variety of mediums in the ancient Mediterranean from the 7th century BCE- 3rd century CE. We will explore how artists captured the essence of myths, making them recognizable narratives to a variety of viewers. We will focus on the following questions: How did the art differ from the literary depictions of the myths and how did they align? How did the different artistic mediums dictate that relationship? What might artistic depictions of myths be able tell us about changes in everyday life, religious and ethnic diversity, gender roles, and politics that written texts conceal? Major themes will include the representation of the body, myths, the relationship of politics to art, and recent discoveries and developments in the archaeological approach to the period.
Fulfills Upper Division GE Area C Requirement

The paper discusses the cult of the Hirpi Sorani, comparing it with other wolf cults of central Italy (Roman Lupercalia, Etruscan reliefs possibly depicting the cult of Calu), analyzing the common elements of these cults, and suggesting that the cults have a common origin.

In the 6th century BCE, the Roman civilization flourished as a continuation of the perfect culture in Etruria (Truri, alb., = The Brain, eng.) and Latium (Albanum / Arbanum). In the 5th century, the book Mythologiæ or the Science of Untruth got published for the first time. Since the book would not have tilted the scale if it was alone, the creation of the poems Iliad, Odyssey, and Aeneid co-occurred. Iliad itself does not prove the Castle of Star (Illi, Ylli, Illion, alb.) or Troy as a place at the entrance of the Strait of Dardanelles.

In archaic and classical iconography, eminent figures, such as the Olympian gods, are often represented seated on thrones. This symbol of power, however, is also regularly used by ancient authors and artists as an allegory of punishment associated to a hybris committed towards the gods –Theseus and Pirithoos on the thrones of oblivion, Hera on the golden throne. This theme alludes to the destiny of those who do not respect the laws and rules established by official authorities (divine or human).
The present article aims at studying the transformation of a typical symbol of power to an image of suffering and torture as well as determining the pictorial elements that enabled the distinction between the two themes in space (Greece and South Italy) and time (from the sixth to the fourth centuries B.C.).

RESUME
Le motif de la figure assise apparaît souvent dans l’iconographie de personnages éminents, tels les Olympiens, faisant référence à leur pouvoir. Néanmoins, ce même motif est parfois utilisé par les auteurs et les artistes antiques pour évoquer des scènes de supplice liées au châtiment d’une démesure envers les dieux –Thésée et Pirithoos sur les sièges de l’oubli, Héra sur le trône d’or– faisant allusion de façon allégorique au sort réservé aux personnes qui ne respectent pas les lois et les règles établies par la hiérarchie officielle (divine ou humaine).
Le présent article étudie la transformation d’un thème typique de pouvoir en scène de châtiment et tâche de déterminer les conditions qui imposaient la diffusion de l’un ou de l’autre motif dans l’espace (Grèce et Italie du Sud) et dans le temps (du VIe au IVe siècle av. J.-C.).

El presente artículo ofrece al lector el conocimiento y el análisis de aquellas tradiciones elaboradas por diversos autores griegos sobre la fundación de Roma que, por diferentes motivos que también serán abordados, fueron desestimadas en el proceso que condujo a la confección final del mito que tiene lugar en época augústea.

https://elibrary.steiner-verlag.de/article/10.25162/hermes-2020-0031

This article addresses the topic of excerpts by focusing on modern excerpting practices used in the analysis of Greek myth. It examines the mythological exemplum about Melanion and Timon from Aristophanes' Lysistrata within the context of Greek myth's flexibility and potential for innovation. After discussing the innovative details of the exempla, I turn to the use of the Melanion excerpt by two prominent classicists, P. Vidal-Naquet and M. Detienne. This leads to some general remarks on the transmission of knowledge regarding mythological lore, as well as on our modern scholarly practices of excerpting passages out of their original context.

Critical edition and analysis of the Storia di Ercole e di Filottete, published by Laura Orvieto in «La Settimana dei Ragazzi» (III, 7, 16 febbraio 1947, p. 3), compared to the other writings for children on classical mythology by the same author.

Antik Dönem Hellen sanatında deniz ve nehir tanrıları önemli bir yer tutar.
Bu tanrı ve tanrıçalar ile ilgili sahneler, Roma Dönemi mozaiklerinde sevilerek konu edinilmiştir. Antiokheia ad Orontes ve Zeugma kentleri zemin mozaiklerinde Okeanos ve Tethys ile ilgili sahnelere rastlamaktayız. Hem bir deniz tanrısı olarak kabul edilen hem de yeryüzünü dört bir yandan saran bir nehir olduğuna inanılan Okeanos bir titandır. Onun eşi Tethys ise denizin verimliliğini simgeler ve bu figürün geç tarihli tasvirlerine Thalassa adı da verilir. Hellen mitolojisine göre Okeanos ve Tethys’in birleşmesinden binlerce nehir doğmuştur. Roma Dönemi ile birlikte deniz ve nehir tanrıları ikonografisi sanatta belirginleşir ve standart bir betimleme tarzına kavuşur. Bu tipik betimleme anlayışı zemin mozaiklerinde rahatlıkla takip edilebilmektedir.

Transkripsjon av skoleeksamen i ANT1104-Antikkens religion og mytologi, høst 2018, ved NTNU. Besvarelsen ble vurdert til karakteren A.

Eksamen foregikk den 21. desember 2018.

Skrivefeil i originaldokumentet er bevart, jeg tar forbehold om skrivefeil påført under transkripsjonen også.

Repetition within storytelling across centuries suggests that certain structures, topics, and motifs entice and delight us, and what begins with a cultural purpose can be carried over purely for entertainment value. Elements of structure similar to those of Ovid's "Arachne and Minerva" can be observed in the Kalevala's "Wainamoinen and Youkahainen" and Disney's Beauty and the Beast, all of which involve themes of hubris, binary opposition, and challenge. Comparative analysis of these three multiforms reveals a pervasive fascination with the contention of unequal opposing figures, and the importance of the "wise old crone" figure.

Le thème de la mythologie Grecque, très attractif chez les jeunes enfants, est particulièrement intéressant à exploiter dès l'école maternelle. Ce projet interdisciplinaire vise à identifier les principaux mythes grecs, et notamment l'Odyssée d'Ulysse. Il s'agira également d'identifier et de connaitre les personnages emblématiques de la mythologie Grecque (héros, dieux, créatures) ainsi que de percevoir leurs caractéristiques physiques et morales,...En plus de toute une approche créative (arts plastiques, cartes mentales,…), cette réflexion sera l'occasion de mettre en place des débats philosophiques soulevant de nombreuses problématiques : Qu'est-ce qu'un héros ? Est-ce qu'il faut forcément être fort pour être rusé ?,…

In this paper classical Athenian discourses about the end of tyranny and the beginning of democracy are analyzed. In particular, taking as a starting point the perspective of some modern specialist about Athenian democracy as a political regime that lacked a theory or systematic thinking as sustenance, aristocratic elements present in democratic discourse are taken into account. Lastly, the discourses about the end of tyranny are situated in the broader context of ideological disputes about the political capability of the masses.

Keywords: Athens – Discourse – Democracy – Aristocracy – Democratic Theory


En el presente artículo se analizan los discursos existentes en la Atenas clásica acerca del fin de la tiranía y el comienzo de la democracia. En particular, partiendo de la perspectiva de diversos autores modernos según la cual la democracia ateniense careció de una teoría o un pensamiento sistemático que le hayan brindado sustento, se estudian las características aristocráticas presentes en el discurso democrático. Por último, se relacionan los discursos sobre el fin de la tiranía con las disputas ideológicas en torno a la capacidad política de las masas.

Palabras Clave: Atenas – Discurso – Democracia – Aristocracia – Teoría Democrática

This thesis examines the representation of the scented female body in the literary culture of late Republican and early Imperial Rome. Recent years have seen increasing scholarly interest in odour and olfaction in antiquity, building on anthropological and sociological research on the cultural relativism of olfactory perception and its associations and interpretations. Through its connections to sexuality, bodily fluids, and corporeal corruption, odour provides a fascinating lens through which to scrutinise the ancient female body.

To this end, this thesis draws together the fields of sensory studies, the body in antiquity, and ancient gender and sexuality, in order to facilitate the first holistic examination of the ways in which scent was used as a means to categorise and evaluate the character, behaviour, and morality of women in ancient Rome. After an analysis of ancient medical associations surrounding odour and the female body, the thesis examines the key properties and thematic concerns of perfumes, first across a range of Roman texts and then in the detailed assessment of perfumes by Pliny the Elder. It then demonstrates that female odour and perfume were deeply embedded in mythical traditions that were richly adapted by Roman poets and themselves extended to embrace female figures that populated the urban environment of Imperial Rome.

It argues that the relationship between the female body and odour was frequently employed as a means of reasserting Roman hierarchies of gender and power. However, it also argues that the odour of the female body was powerful. Odour invaded, captivated and polluted the bodies it touched, and it was also the sense that best correlates to the traditional ambiguities, dangers, and wiles with which women were associated. The sensory manipulation enabled by perfume stoked these ambiguities and anxieties, permitting women a level of control over the ancient sensorium, potentially deceiving discerning male noses and thus disrupting the very hierarchies which characterised women as socially and biologically inferior.

Nell'immaginario occidentale le Amazzoní rappresentano il caos e la diversità, con la forza delle armi vogliono sottomettere il maschio e usurparne i ruoli. Per questo, nelle società a struttura patriarcale, non possono che generare sentimenti di angoscia e di paura. Attraverso una serrata indagine della sterminata mole di fonti, vengono ripercorsi e commentati gli episodi relativi alla saga amazzonica elaborati dall'antichità fino oltre la fine del medioevo: dalle incredibili origini alla guerra di Troia, dall'incontro con Alessandro Magno ai rapporti con il misterioso Prete Gianni. Per la prima volta in Italía, viene riproposta in uno studio monografico a tutto tondo la straordinaria vitalità di un mito sui generis capace di sconfinare nella storia.

Mitoloji, Yeryüzünü, Evreni ve Evren karşısında insanın kavrayamadığı doğa olaylarını anlamaya çalışan ilkel insanın düşgücünün ürünüdür. Mitolojik düşünce ise, mantık öncesi düşünüş biçimidir ve gizemci bir bakıştır. Bir mitin içindeki tüm olup-biteninin; nedenlerinin ve gerekliliğinin günümüz bilimsel düşünce yapısı ve fiziksel dünya bilincimizle kavranması olası değildir.
        Ancak şu da bir gerçektir ki büyüsel örtülere bürünmüş bir mitolojik öykünün bile insanlık tarihinde bir gerçekliği vardır. İnsanın ilk çığlığı, korkusu, türküsü dillenmiş, söze dökülmüş, taşa kazılmış, şiire taşınmış ama en önemlisi tüm bunlar insanlığın genlerine, bilinçaltına yerleşmiştir.
Mitolojinin bu masalımsı halinden ötürü onu küçümseyen ve faydalı bir bilgi olarak görmeyen düşünüşe karşı Amerikalı yazar Thomas Bulfinch’in (15 Temmuz 1796 - 27 Mayıs 1867) hazırlamış olduğu bir eserdir bu çalışma. Bulfinch’e göre mitoloji iyi bir şekilde bilinmeden ne günümüz yazarlarını ne klasikleşmiş yapıtları ne de modern edebiyatı anlayabiliriz. Örneğin, Shakespeare’in eserlerindeki mitolojik kahramanlara ya da olaylara yapılan göndermelerin anlaşılamayacağını ileri sürer.  Bu sebeple de mitolojik hikâyeleri hemen hemen herkesin okuyabileceği bir dille kaleme almıştır bu yapıtında. Sadece bilimsel bilginin “faydalı” olduğu şeklindeki baskın görüşün artarak egemen olduğu bir dönemde, deneysel yöntemden yararlanarak mitoloji ile modern edebiyatı birleştirmiştir. Antik Çağ yazarlarından aktardığı örnekleri düzyazı şeklinde, modern edebiyattan alarak örtüştürdüğü örnekleri ise birebir çevirileriyle kullanmıştır. Biz de yazarın bu hassasiyetini göz önünde tutarak sizlere onun eserini, kendi düzenlediği biçimde sunmayı uygun gördük. Borges’in dediği gibi …Bir ağacın, bir yıldızın ya da bir kayanın canlı bir varlığı simgeledikleri gibi, Antik Çağ şiiri de düzyazı demekti.  Modern edebiyatta ise bunlar birbirinden ayrılmış disiplinlerdir artık.
Ülkemizde bugün herhangi bir okumuşa “mitoloji”yi sorduğumuzda, Helen ve Roma Mitolojileri akıllarına gelecektir. Kültürümüzün ve edebiyatımızın beslendiği Fars-İslam, Ural-Altay, Orta Doğu ve Doğu Mitolojisi ilk akla gelenlerden olmayacaktır. Bir Amerikalı olan Bulfinch hazırlamış olduğu bu eserde Hellen ve Roma mitolojilerinin yanı sıra kendi edebiyatlarına yansımış birçok göndermelerin kaynağı olan “Kara Avrupası ve “Kuzey Avrupa” mitolojilerine de uzun uzun yer vermiştir. Böylece hem klasik mitolojiyi, antik yazarlardan yaptığı kendi çevirilerinden ve kendi dilinden, döneminin gençlerine öğretiyor hem de bu sayede sözkonusu gençleri modern edebiyata yönlendiriyor.
Efsaneler Çağı’nı, Klasik Mitoloji’yi genç nesle aktarmadaki başarısıyla türünün ve döneminin ilk örneği olarak saymaktadır Marie Cleary. (Miscuit utile dulcı: Bulfınch's Mythology as a pedagogical prototype, Classical World 78.6 (1985), 591-596) ve ona göre Bulfinch, özsözünde belirttiği “bilgi mutluluk getirdiği takdirde ‘faydalı’dır” şeklindeki düşüncesine, Horatius’un "omne tulit punctum qui miscuit utile dulci (Faydalı olanla hoş olanı harmanlayan, oyun tamamını almış olur)" prensibini temel almış olduğuna dikkat çekmektedir.
        Bulfinch’in Mitolojisi,  yazarın farklı dönemlerde ele aldığı üç çalışmasının bir derlemesidir: Bunlardan, Efsaneler Çağı 1855; Şövalyeler Çağı 1858; Charlemagne Efsaneleri, Ortaçağ Romansları ise 1863 yıllarında ilk baskıları yapılmıştır.
Bu derlemeyi oluşturan bu üç kitap, beş bölüm halinde sunulmaktadır: Efsaneler Çağı: Tanrıların ve Kahramanların Öyküleri (The Age of Fable, or Stories of Gods and Heroes); Şövalyeler Çağı: Kral Arthur ve Şövalyeleri (The Age of Chivalry, or Legends of King Arthur); Mabinogeon (The Mabinogeon); İngiliz Soyunun Kahramanlık Mitleri (Hero Myths of the British Race); Charlemagne Efsaneleri Ortaçağ Romansları (Legends of Charlemagne or Romance of the Middle Ages).
        Eserin Türkçe çevirisi yapılırken, “Bulfinch’s Mythology, Avenel Books Crown Publishers Inc., New York 1978 Edition” adlı basım temel alınmış olup, mitolojide adı geçen Eski Yunanca ve Latince yer ve şahıs adları, mümkün olduğunca yazarın metnine sadık kalınarak Latince şekillerinde verilmeye çalışılmıştır. Bulfinch bu eseri, esas olarak Amerikan ve İngiliz halkına yönelik yazdığı için, onların kültüründe yer etmiş ancak Türk okuyucusunun anlamakta güçlük çekebileceği ve yabancı gelebilecek bazı noktalarda editör ve çevirmen açıklamalarının gerekli gördüğümüz yerlere eklemeyi de uygun gördük.
        Yaklaşık 150 sene önce yazılmış, Amerika ve Avrupa ülkelerinde klasikler arasına girmiş ve defalarca baskısı yapılmış bu eser, Türk okuyucusuna ilk kez, elinizdeki bu çeviri eserle sunulmaktadır. Bugüne kadar Türk bilim insanları ya da aydınları tarafından yazılan ya da diğer dillerden Türkçe’ye çevirilen mitoloji kitapları/ sözlükleri arasında, mitoloji ve mitolojik tarihin anlaşılmasında son derece “faydalı” ve önemli bir yere sahip olacağını düşündüğümüz eserin, son kısmına eklenen sözlük ile birlikte, yazarın da belirttiği gibi, oturma odanızın ya da kütüphanenizin en temel eserlerinden ve en önemli sözlükleri arasına gireceği ve büyük bir boşluğu dolduracağı inancındayız. 
Bülent Öztürk
İstanbul, 2011

Dans la tradition grecque, on s'accorde pour considérer le mythe de Dédale et d’Icare comme celui qui illustre le mieux, dès les temps les plus reculés, le thème des voyages aériens des mortels. À y regarder de plus près les versions attestées du récit et le dossier iconographique qui lui est associé, on constate que de nombreux thèmes s’y entrelacent (fuite/poursuite, hubris/châtiment, homo faber - artisan et inventeur habile des objets volants et des techniques du vol, la fascination du lointain et la tension dialectique entre proche et éloigné, l’initiation et le passage à l’âge adulte, etc.), comme pour témoigner de la nature polysémique des mythes. Cependant, on remarque l’absence des motifs relatifs précisément au thème du vol ascensionnel (à travers l’éther ou dans les airs) des mortels en corps vivant, ce qui donne lieu à une remise en question de l’ancienneté du rêve de vol humain et de ses représentations dans la pensée grecque ancienne.

The myth of Daedalus and Icarus is widely regarded as the paragon of the aerial journeys of mortals. However, we have to notice the lack of specific mythical motifs connected with the ascending flight of mortals. This absence raises significant questions regarding the ancientness of the human yearning to fly and its representations in ancient Greek thought.

Women's mobility is central to understanding cultural constructions of gender. Regarding ancient cultures, including ancient Greece, a re-evaluation of women's mobility within the household and beyond it is currently taking place. This invites an informed analysis of female mobility in Greek myth, under the premise that myth may open a venue to social ideology and the imaginary.

Female Mobility and Gendered Space in Ancient Greek Myth offers the first comprehensive analysis of this topic. It presents close readings of ancient texts, engaging with feminist thought and the 'mobility turn'. A variety of Olympian goddesses and mortal heroines are explored, and the analysis of their myths follows specific chronological considerations. Female mobility is presented in quite diverse ways in myth, reflecting cultural flexibility in imagining mobile goddesses and heroines. At the same time, the out-of-doors spaces that mortal heroines inhabit seem to lack a public or civic quality, with the heroines being contained behind 'glass walls'. In this respect, myth seems to reproduce the cultural limitations of ancient Greek social ideology on mobility, inviting us to reflect not only on the limits of mythic imagination but also on the timelessness of Greek myth.

Without science, there had been difficulties in understanding the universe, nature, life, and humans and how they originated or created. Societies had tried to explain such cosmic phenomena by developing unique mythological stories.

In this study, the belief systems of ancient societies which settled on Anatolia and Aegean region, were discussed in general terms. The methods which they followed in order to explain the facts that govern the cosmos were defined.

The power struggle amongst the gods and their cosmic domination was explained; characterised by the gods of Ancient Greek myths Uranos, Kronos and Zeus, who seised power by overthrowing each other. The significance that had been put upon these gods was interpreted. To better understand the viewpoint of ancient societies, the Mesopotamian and Anatolian gods of Anu, Kumarbi and Teshub were analysed. The myths of these gods were examined comparatively.

The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid. However, the garden owner, Henry Hoare II, left no record to substantiate this, or any other theme, and it is not mentioned in the many extant visitor accounts from the eighteenth and early-nineteenth centuries. My approach to understanding the garden began with the systematic collection of information on the garden’s content and evolution. This endeavour yielded more than 20 further visitor reports, as well as visual and literary sources not considered in previous secondary accounts. This research has shown that the garden included a number of artefacts unknown to previous theorists. It has also shown that the true provenance and acquisition of extant garden elements is often different to that listed in the Stourhead secondary literature. I conclude that visitor reception of the gardens yields highly idiosyncratic interpretation, the emotional and cognitive content of which was largely determined by information obtained from published literature, garden guides and fellow visitors. A strong further influence on the interpretation of the gardens by some visitors was familiarity with the Roman and wider Italian influences on the garden content. I have especially considered visitor experience of the Grand Tour in this context. I propose that visits to Stourhead elicited emotional and cognitive responses from visitors. An effect of encountering the garden edifices and artefacts was to prompt memories, particularly of prior visits to the original Roman or Italian buildings and artefacts, but also of copies encountered in English landscape gardens and elsewhere.

Desde Escitia a la Península Ibérica, de la Edad de Bronce -si no antes- a los primeros siglos de nuestra Era, diversos seres antropomorfos, humanos o mitológicos, han sido representados luchando contra el grifo -id est, la grifomaquia- a lo largo de milenios y kilómetros con distintos significados, muchos de los cuales aún suponen una incógnita para la arqueología...

Preface - Introduction - The twelve labours of Hercules on Roman sarcophagi - Conclusion - Catalogue - Sarcophagi from Rome - Sarcophagi from Italy - Attic sarcophagi - Asiatic sarcophagi - Sarcophagi from the eastern provinces - Diagrams - Bibliography - List of figures - Concordance - Index of locations and provenances - Index of subjects.

Near Eastern Societies had started to constitute a syncretic culture after Aleksandros’ death by combining their own local traditions and Hellenism. In Roman Empire period, this synthesis had developed and the culture had ossified. One of the most important element of this cultural structure is magic. This tradiation presents daily life of people who lived in this period. Also ingredients which used for magical purpose provide a clue about socio-economical structure of this period and gods, godnesses and supernatural powers, mentioned in magical texts, reflect many details about religional tradiation. In addition, taxonomy over magic types which made according to using extensity, mirrors basic anxieties of the society.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

This collection of essays and notes attempts to tread the invisible borders between mythos, the neoliberal-Christian-nationalist 'world view' and socio-political trends in the rise of Trump, the Red Hats and the Evangelicals to political dominance in the United States.

Livia Drusila, Iulia Augusta o Diua Augusta fueron los títulos oficiales con los que se denominó a la primera emperatriz de Roma a lo largo de su longeva vida de forma oficial e insti- tucional. Pero más allá de los ámbitos de poder, esta mujer recibió diversos honores y apelativos extraoficiales sin sanción oficial como iniciativa y deseo del pueblo romano hacia su persona. Es destacable el epíteto Genetrix Orbis, vinculado a la diosa Venus, fundadora mitológica de la dinas- tía Julio-Claudia, con el que la sociedad hispana de la Baetica la homenajeó en Anticaria, Colonia Romula Hispalis e Italica.