Greek Myth

in questo lavoro indago il culto arrhephorico non procedendo, come d'uso, dalla relazione di pausania ma piuttosto partendo dalle fonti primarie, (le iscrizioni e i lessici). questo nuovo percorso conduce radica il culto arrhephorico nella religione ateniese piuttosto che abbandonarlo ad un'ermeneutica genericamente iniziatica

Adela Fernández es una de las figuras más enigmáticas de la literatura mexicana. En su obra cuentística destacan temas relacionados con lo fantástico, la maternidad y la muerte. En este trabajo se analiza el cuento “Macedonia”, perteneciente a la antología _Vago espinazo de la noche. Cuentos negros, crueles y cínicos_ (1996). El relato aborda distintas problemáticas ligadas a la figura del doble, como el sacrificio, la identidad, la herencia generacional y lo cíclico del espacio-tiempo, dentro y fuera del escenario. Este artículo propone un estudio de la variante femenina de la figura del doble. Finalmente, las nuevas perspectivas de análisis sobre su poética nos permiten ubicar su obra a la par de la literatura contemporánea escrita por mujeres, que ha sido estudiada de acuerdo con distintos enfoques, particularmente aquellos que permiten explorar los miedos y las inquietudes de las autoras, tal como se pretende hacer en este trabajo.

This paper explores how classical myth served as a narrative tool in two
Holocaust-themed short stories by Aharon Appelfeld and Michal Govrin, allowing the writers to grapple with the unrepresentable horror of the Shoah. Examining Aharon Appelfeld’s Odyssean reference in the short story ‘Bertha’ and Michal Govrin’s Aeschylean inspiration in the story ‘The End of the Pythia,’ the paper argues that the use of myth provides an analogical framework, bypassing the limitations of realism and the taboo of the incomparability of the Holocaust. Special attention is given to the
generational difference of the writers, their relationship to the Holocaust, their narrative choices, and different modes of engagement with myth itself. Furthermore, the article addresses the complex relationship between classical culture and Jewish culture in the post-Holocaust era, acknowledging both the appropriation of classics by Nazi and fascist regimes and the writers’ reclamation, however troubled, of this cultural patrimony.

The article presents a review of the latest research approaches in myth criticism, which have emerged in response to changes in the perception of myth in both the humanities and contemporary culture. Due to the discoveries made by historians, anthropologists, and philosophers in the 1980s who challenged the traditional conception of myth as a sacred narrative ritually reproduced in an unchanged form (Eliade), contemporary literary scholars have shifted their focus from the literary similarities of myth variants to their „original” versions to their reception and transformations in various historical and social contexts. One method presented in this article is „differentiating comparison” (Ute Heidmann), which involves examining the uniqueness of each literary adaptation of a myth, dependent on the context of its articulation. Another original approach is the mythopoetics of Véronique Gély, who analyzes the process of new myth creation in literature. In her work, she explains how fictional narratives become myths through the processes of reception and reinterpretation and the roles played by factors such as „memory” and „scandal”. Another methodological proposal is the cultural myth criticism of José Manuel Losada, which examines the erosion of myths in contemporary culture, linked to globalization, rejection of transcendence, and consumerism. Faced with the disintegration of mythic narratives, contemporary literary scholars increasingly limit their research to its most enduring elements – the mythical figures – focusing primarily on the process of their emergence in culture and their distinctive features. A new research area for myth criticism representatives has also become fantasy, seen as a contemporary counterpart to traditional mythologies, and contemporary reinterpretations of myths created by women writers, presenting mythical stories from the perspective of their heroines. The review of methods used in contemporary myth criticism concludes with an interdisciplinary approach, enabling comprehensive analysis of literary myths from several different research perspectives.

Draft. Apologies if you are reading this. Needs a lot of work, no time. This is a draft reconstruction of the text of Susanna from Papyrus 967. Check my uploads for associated documentation and updates when they become available. Susanna's real name can not be fully read in Papyrus 967 because the location of her name is damaged. We are dealing with cryptography. Her real name almost certainly is not simply 'Susanna'.

EUTEdizioniUniversitaTrieste Proprietà letteraria riservata. I diritti di traduzione, memorizzazione elettronica, di riproduzione e di adattamento totale e parziale di questa pubblicazione, con qualsiasi mezzo (compresi i microfilm, le fotocopie e altro) sono riservati per tutti i Paesi.

Smith on Armenian Genetic Isolation and the Nuances of Micro-Mutations, Demographic Bottlenecks, and Phrygian-Bryges Admixture **Abstract** In their seminal work, Dr. Chris Tyler-Smith and colleagues presented evidence suggesting that the Armenian population experienced a period of profound genetic isolation starting roughly 4,000 years ago, corresponding with the collapse of the Bronze Age civilizations. While their model provides a compelling framework for looking at long-term regional continuity, it heavily relies on a broad-stroke sampling methodology that potentially obscures crucial micro-demographic nuances. This response presents a multi-faceted critique of the absolute isolation hypothesis by integrating contemporary consumer genetic data, ethnohistorical migrations (such as the Rábaköz and Budapest Armenian diaspora communities), geoclimatic micro-mutations, the catastrophic demographic bottleneck of the 1915 Genocide, and the archaeogenetic potential of the ancient Phrygian-Bryges populations.

Anatolian >> G. túrannos 'absolute ruler / tyrant / dictator', fem. turannís >> Et. Turan G. Minṓ-tauros, *Tauro-Minōs or *Teuro-Minēs >> Et. Theurumines Some of these have less obvious matches, but can help analyze other IE changes, since sometimes Etruscan loans retain features lost in Latin, Greek, etc. Others are from odd dialects, mostly Cretan (if I'm right). Vortumnus > Et. Voltumna shows r \ l, also known on Crete (see below for more). A. Turmś Etruscan Turmś 'Hermes', Greek Δρόμιος \ Dromios 'god of the race-course'; known by this name in Crete. Et. had no d, no dr (words with-Cs are almost always IE loans). Though Δρόμιος is directly derived <-δρόμος 'course, race', since similar words are δρομικός \ dromikos 'good at running, swift', it seems likely to me that 'swift' is the oldest meaning (or 'of roads' in general) to match his character. B. Fufluns Et. Fufluns \ Puphluns, worshipped at Populonia. This shows the relation of Latin populus 'people', pūblicus 'of the people, state; public' (OL poublicos) includes *p-p(h) > p-p \ p-b (IE *bh > *ph > f- ,-bbetween V's). If derived from *po-plH1o-'(the) many, multitude' <-*pelH1-'fill', then stages *poplH1os > *popolH1os > *populH1os \ *poupH1los (with *pH > *ph(H) likely optional; many *C(h)H in IE branches). In Et., maybe other Italic, some assimilation of p(h)-p(h). I think that many examples of h-&-h-in Latin & Italic could show the retention of *H from PIE until recently (https://www.academia.edu/165477275), and this would provide more support.

Domenico Tenerelli è dottorando in Lingue, Letterature e Culture in contatto presso l'Università degli Studi "G. d'Annunzio" Chieti -Pescara. Si occupa prevalentemente di Illuminismo meridionale e letteratura italiana tra Otto e Novecento, con particolare attenzione ai rapporti di alcuni autori con l'occultismo. Ha pubblicato, su riviste e in volumi collettanei, articoli su Pirandello, Capuana, d'Annunzio, e la monografia Ai limiti della vita (2020). Καὶ μανθάνω μὲν οἷα τολμήσω κακά, θυμὸς δὲ κρείσσων τῶν ἐμῶν βουλευμάτων, ὅσπερ μεγίστων αἴτιος κακῶν βροτοῖς.

The “Ἀρχαῖος Ναός” of Asklepios on the South Slope of the Athenian Akropolis: A New Temple Re-Discovered in Athens

The Athenian Asklepieion lies at the South Slope of Akropolis next to the Theatre of Dionysos Eleuthereus and on the terrace above the Stoa of Eumenes II. It is presently believed that the sanctuary had only one temple; the one dated to 300 BC that lies next to the Doric Stoa.

In my paper, I will present all the evidence of yet another temple together with a reconstruction of its third Classical construction phase, where all its main architectural elements are preserved. Architect Michaelis Lefantzis and I have worked on a reconstruction of this small temple with five construction phases dated to 418/17 BC to the Roman Imperial period (Construction Phases IV and V).

A meticulous analysis of all the blocks placed at what was former believed to be an altar (βωμός) and all the other architectural blocks related to this monument, which are today spread out in the sanctuary, has resulted in this unexpected discovery. Instead of finding a whole altar, we found the remains of the first temple of the sanctuary. This temple is also depicted on the so-called Telemachos Monument, that carries an extensive inscription describing the beginning of the history of the sanctuary from the founding in 420/19-412/11 BC.

The temple is also mentioned in an inscription dated to 51/50 BC as “ἀρχαῖος ναός” (old temple) together with the Hellenistic temple which is simply called “ναός” (temple) in the inscription. This inscription gives the final evidence that the Athenian Asklepieion had two temples form at least 300 BC.

The Athenian Asklepieion lies at the South Slope of Akropolis next to the Theatre of Dionysos Eleuthereus and on the terrace above the Stoa of Eumenes II. It is presently believed that the sanctuary had only one temple; the one dated to 300 BC that lies next to the Doric Stoa.

In my paper, I will present all the evidence of yet another temple together with a reconstruction of its third Classical construction phase, where all its main architectural elements are preserved. Architect Michaelis Lefantzis and I have worked on a reconstruction of this small temple with five construction phases dated to 418/17 BC to the Roman Imperial period (Construction Phases IV and V).

A meticulous analysis of all the blocks placed at what was former believed to be an altar (βωμός) and all the other architectural blocks related to this monument, which are today spread out in the sanctuary, has resulted in this unexpected discovery. Instead of finding a whole altar, we found the remains of the first temple of the sanctuary. This temple is also depicted on the so-called Telemachos Monument, that carries an extensive inscription describing the beginning of the history of the sanctuary from the founding in 420/19-412/11 BC.

The temple is also mentioned in an inscription dated to 51/50 BC as “ἀρχαῖος ναός” (old temple) together with the Hellenistic temple which is simply called “ναός” (temple) in the inscription. This inscription gives the final evidence that the Athenian Asklepieion had two temples form at least 300 BC.

The Museum of Lies as subproject to the Cyfarthfa Castle Museum Project (shared between the University of Wales Trinity Saint David and Cyfarthfa Castle Museum and Art Gallery, Merthyr Tydfil) collects fictional stories inspired by Egyptological artefacts. It aims to appraise unprovenanced objects by using alternative, creative and artistic narratives (word, image, art, dance) in addition to and beyond scholarly description allowing the literal and cultural (re-)discovery of artifacts completely devoid of their archaeological provenance. In connecting the objects with (new) contexts, they are brought back to life and out of the storerooms by being connected with audiences at the intersection of tangible and intangible heritage.
Artists, poets, craftsmen, dancers and pupils are creating said narratives which are revealed together with the objects and their academic descriptions in annual pop-up exhibitions. Fitting with the cyclical (re-)use of objects in ancient Egypt, this traces their trail through time and space from the moment of first production and consequent usage in Egypt over being picked up by travellers, being misplaced and rediscovered in Wales. At every stage a layer of new context and interpretation was added, revealing their identity giving multidimensionality.

Giriş Gökyüzünün bölündüğü seksen sekiz alandan her biri, takımyıldız adını alır. Öbür yandan takımyıldız deyince, yerküreden bakıldığında birbirleriyle ilişkiliymiş gibi görünen lakin gerçekte biri diğerinden farklı uzaklıklarda olan yıldız kümeleri anımsanır. Antik astronomlar, takımyıldızların izdüşümlerinin meydana getirdikleri şekilleri, mitoslara konu olan kahraman ve hayvanlara benzetmişlerdir. Eski Yunanlı ve Romalı astronomlar da bu takımyıldızları isimlendirirken mitolojik hikâyelerden esinlenmişlerdir. Bu takımyıldızlardan on ikisi Zodyak olarak bilinen grupta bulunurlar. Zodyak Takımyıldızları veya Zodyak Burçlar Kuşağı diye adlandırılan bu kümede yer alan yıldızlar Koç (Aries), Boğa (Taurus), İkizler (Gemini), Yengeç (Cancer), Aslan (Leo), Başak (Virgo), Terazi (Libra), Akrep (Scorpius), Yay (Sagittarius), Oğlak (Capricorn), Kova (Aquarius) ve Balık'tır (Pisces). Biz, bu bildiride, kuzey yarıkürede yer alan (Taurus) takımyıldızının mitolojik öyküsünü Eski Yunanlı ve Romalı yazınbilim ustalarından seçtiğimiz örneklerle aktarmak istiyoruz. Anahtar Sözcükler Boğa (Taurus), Takımyıldız, Mitos, Diodoros, Vergilius.

## The Motifs of Baskets and Wooden Crates in Ancient Architecture The motifs of the basket and the wooden crate are crucial because they directly reflect the architectural practices and available materials of their respective eras. ### Mesopotamia and the Basket(Housing) Motif It is important to clarify that Sargon's legend was written in the 7th century B.C., thus, the legend can focus on some other bastards called Sargon, like Sargon II. The timeline is not verified in an absolute way, and it is now possible to drew some analogues with the other migration legends from the civil wars of the ruler classes from some other legends. In ancient Mesopotamia (such as Sumer), stone and timber were extremely scarce. Instead, builders relied heavily on the abundant alluvial clay, mud, and reeds. * The **basket** became a powerful symbol of construction. It represents the woven reed structures and the literal baskets used to carry mud and bricks to build monumental structures like ziggurats. * Historical figures like **Sargon II** (rather than Sargon I/the Great) frequently used the motif of the builder-king carrying a basket of earth on his head. In this context, the basket symbolizes the foundation of a house, a hut, and the state itself, highlighting a society literally shaped by mud and reeds.

The Odyssey's two scenes involving the helpful demi-goddesses Leukothea and Eidothea are linked by proximity and a number of narrative similarities; they may have arisen from a common source, one generally assumed to be folkloric. Two episodes from the Sanskrit Mahábhárata involving similar aquatic helper figures (Ulúpí the Nágí, and Vargá the crocodile/celestial nymph) shed light on the Graeco-Aryan origins of the Homeric goddesses, and offer insight into the evolutionary processes of both epic traditions.

Abstract Thanks to the complex temper and personality of its main character, the Medea of Euripides has generated an impressive amount of rewritings. This article aims to analyze the Fortleben of Medea-myth focusing on Francesco Mastriani’s La Medea di Porta Medina. The Italian author transfers the Euripidean drama to a popular context,
re-interpretating Medea as Coletta Esposito, a woman of the people who, betrayed and marginalized, acts with determination and clarity. The comparison between Euripides’ drama and Mastriani’s novel shows continuity and differences in the representation of inner laceration and moral responsibility, highlighting how ancient myth can be
reborn in modern and realistic prose and maintaining the tension between emotion and rationality. This new representation of Medea offers new keys to understanding the Euripidean character as a figure of otherness and resistance.

Analysis of Phaedra's character in Seneca.  The change from Euripides' characterization is due to the expectations of Seneca's audience. As C. Garton has already pointed out, Seneca's audience, unlike the Greek one, was more literary-minded, an audience, which was especially attuned to authorial variation on a theme, being mindful and savvy of the Greek forerunners, and in certain cases, as in the case of Phaedra of previous Roman treatments as well.

** The Chronological Realignment of Sargon of Akkad and Perseus: A First-Millennium BCE Synthesis of Neo-Assyrian and Greek Foundation Myths "... Perseus himself was an Assyrian who became a Greek, which is a tradition I will not adopt."* >" (Herodotus, *The Histories*, 6.53-54) It is now provable that Herodotus should have accepted the view that Perseus was an Assyrian. The famous birth legend is not the one for Sargon I., however, it was written down only in the 7th century B.C: and, thus, could be found out about the birth of Sargon II.(see his reign chronology Appendix2.) , and could be compared to the Perseus' myths of Greece. by that, the refoundation of Mycanae could be explained by the orientalizational period of Greece and the Lydian Agamemnon could be the king of the 'Iron Age' Mycanae. Thus, his royal ancestors become real rooting back to the Greek Dark ages.

Styx is one of the most under-recognised powers in Greek mythology. In the common retellings she becomes an underworld river, a dark boundary, a daughter of Oceanus, or one of the many figures who populate the vast divine genealogy inherited through Hesiod, Homer, later Greek poetry, and Roman adaptation. Yet this is already a reduction. Styx is not merely a river. She is not merely a goddess. She is a surviving Greek expression of the primordial substrate principle: the dark water-field beneath form, oath, law, divine speech, and cosmic return. Styx reveals something that the Olympian order otherwise obscures. Zeus may rule the differentiated divine world, but Zeus is not first principle. If Zeus must swear by Styx, then Styx stands beneath, before, or around the authority of Zeus. She is not a subordinate figure in the Olympian court. She is the field-condition by which divine sovereignty is bound. That single fact opens the Greek system back toward Egypt, where the same principle was preserved more clearly through Nun, Atum, the Duat, Isis, Ma'at, Ptah, and the Ennead.

Tethys is then examined as a binding principle within the Styx field. The natural parallels with Nepthys and Opet/Tawaret emerge as the early seed logic. But most importantly, the unification between myth and cosmos gains recognition from early dynastic Egypt, through the Greeks, to our present sciences.

What also emerges is a consistent measurable and falsifiable hypothesis that the tested Egyptian sacred imagery contains an encoded Tetractic logic. The same logic found in the Roman Dodecahedron and St John's Cross..

“Somewhere between the heart and the mind something went wrong.”
In 1996 the line above would be the beginning of my art project, The Omen Project, which continues to this day. It is fundamentally a tantric understanding of the Iliad and the Odyssey, and how its theme can be seen in Star Trek: The Motion Picture, the division of the Mind (nous) into 'heart' and intellect, eros (love) and logos (word, reason), and their separation. Our modern scientific understanding places the Mind in the head, but the tantric conception, and that of Egypt as well Hermeticism, places the Mind in the Heart as the seat of 'I Am' awareness, not the senses. The Mind and Soul as metaphysical and spiritual properties have been banished in favor of the logos-logic, and mind defined as mere intellect arising from the body, but Mind (nous) of the ancients was not mere intellect or logos, logos (reason) is the intellectual ordering not the awareness of Nous or the "I am" as the seat of awareness.

The failure is an Academic one of seeing this story as merely a Myth and then denying the power of Myth in favor of cold reasoning of Logos, ‘WE KNOW THAT WE ARE BETTER THAN THESE RUSTIC TAILS’ - an Event has occurred, we have become Enlightened, Pilar Saints standing proud, we have finished, we have shed our ties to Pathos and Mythos; and thus have failed the Trial and are swallowed in Tartarus.

A comparison of Seneca's and Euripides' characterization of Phaedra and Medea shows that Euripides accepts the character flaws inherent in these mythical women. He focuses on the means by which his heroines accomplish their terrible deeds. Seneca, less resigned to their flaws, explores the destructive power of passion and of rejected love turned to anger. His heroines fall prey to these emotions and end up destroying themselves and others.

Questo articolo propone una lettura simbolico-comparativa di alcuni motivi presenti nei poemi omerici alla luce di specifiche immagini religiose dell'Antico Egitto, con particolare attenzione ai temi della soglia, della memoria, del riconoscimento e della rigenerazione. Pur appartenendo a sistemi culturali e religiosi distinti, il mondo di Omero e quello egizio condividono alcune strutture immaginative profonde, nelle quali la parola, il nome e il rito assumono la funzione di sottrarre uomini, sovrani e defunti alla dispersione e all'oblio. L'analisi si concentra su due nuclei principali. Il primo riguarda la figura del cane Argo nell'Odissea, interpretato come custode della soglia domestica e della memoria identitaria di Odisseo. Attraverso il valore semantico del nome Ἄργος, associabile alla luminosità e alla rapidità, Argo viene accostato in chiave simbolica alla sfera del "cane luminoso" e della Stella del Cane, Sirio/Sothis, che nel calendario religioso egizio era connessa alla piena del Nilo e, in età tarda, alla figura di Iside. Tale accostamento non implica una derivazione storica diretta, ma permette di collocare Argo entro un più ampio campo simbolico fatto di luce, soglia, fedeltà e riconoscimento. Il secondo nucleo riguarda la Dea/Musa omerica, intesa non come semplice personificazione letteraria dell'ispirazione poetica, ma come potenza divina della memoria. La Musa custodisce ciò che l'uomo non può ricordare da solo, ordina i nomi, conserva le genealogie e impedisce che le imprese degli eroi vengano dissolte dal tempo. In questa funzione può essere accostata, sul piano simbolico, a Iside: non perché le due figure coincidano, ma perché entrambe agiscono contro la dispersione. Iside ricompone il corpo smembrato di Osiride e ne rende possibile la rigenerazione nell'aldilà; la Musa ricompone, attraverso il canto, i frammenti della memoria eroica e li consegna alla durata del poema. In questa prospettiva, il recente ritrovamento di un frammento dell'Iliade in un contesto funerario egizio di età romana assume un valore particolarmente significativo. Esso non dimostra un'origine egizia dei simboli omerici, né una diretta assimilazione della Musa a Iside, ma mostra come la poesia omerica potesse essere reinterpretata, in ambiente greco-egizio, come parola dotata di valore memoriale, protettivo e forse salvifico. Il confronto tra Argo, la Dea/Musa e Iside consente dunque di

The concept of "demons" in Greek literature is ancient, and also has diversity of usage, meaning, and significance. This paper provides an overview of the historical development of the term, in both secular and biblical Greek literature. The time period from Homer through the New Testament is emphasized. Particular attention is given to the three major terms in Greek literature which refer to demons.

The Sumerian Kings List (SKL) is among the most debated documents in ancient history. Its pre-flood section records eight kings ruling for a combined 241,200 years-figures so extreme that scholarship has largely treated them as mythological. This paper proposes a different analytical approach. Drawing on Thorkild Jacobsen's authoritative 1939 critical edition, it argues that the pre-flood reign lengths are not mythological invention but recoverable historical data obscured by three compounding distortions: sexagesimal encoding conventions, scribal transmission error introduced when the antediluvian section was grafted onto an older document, and dynastic compression analogous to patterns documented in Egyptian royal records. When the Sumerian unit of one sar (3,600) is applied as a corrective divisor-grounded in Jacobsen's observation that all but two pre-flood reigns are exact multiples of 3,600-reigns reduce to 8-12 years each, entirely within normal parameters for early city-state governance. The paper further applies the Deep Symbolic Systems Model (DSSM; Vondoom, 2025) to read the SKL as a Stage 3-4 symbolic legitimacy artifact: a political document encoding institutional authority in the grammar of sacred time, not a chronicle of literal events. This three-layer argument-textual, mathematical, and symbolic-structural-recovers the SKL as a distorted but legible record of the world's first multistate system.

This article aims to highlight the relevant and detailed discussion on the Underworld in Plutarch's De audiendis poetis 17B6-E8. In this passage, Plutarch points out the negative effects of the Afterlife-descriptions on the young people by criticizing some aspects of the Underworld in the previous poetical tradition. Starting from general and highly rhetorical considerations which can be traced back to the analogue discussion on the same topic in Plato's Republic, Plutarch exemplifies the awful imagery and aspects of the land of dead through poetical quotations (Sophocles, Homer, Pindar, and Euripides), which enrich his interpretation in a brief review of the 'Underworld-μυθῶδες' across different literary genres. 'Dic quaeso: num te illa terrent, triceps apud inferos Cerberus, Cocyti fremitus, travectio Acherontis, "mento summam aquam attingens enectus siti'' [adesp. F 49 TrRF] Tantalus? Tum illud, quod ''Sisyphus versat Saxum suduns nitendo neque proficit hilum?'' [Lucil. dub. fr. 1375 Marx] fortasse etiam inexorabiles iudices, Minos et Rhadamanthus?' (Cic. Tusc. Disp. I 10, 1-7)

This paper aims to provide a comparative feminist reading of Kamala Das's autobiographical work My Story, Shashi Deshpande's short story The Intrusion and web series Chiraiya which through different timelines presents same preoccupation with themes like marital rape, deeply rooted patriarchy, and marriage as an institution. Reading across different genres of confessional autobiography, realist short story and domestic fictional drama-this paper views marriage not just as a personal bond but as an institution that disregards consent and exposes man's desires hidden as "rights" and "authority". These works expose society's thought process where marriage is seen as a lifetime's contract for a woman's body whether she wants or not. It argues that collectively, these works dismantle the ideological equation of marriage with unquestionable consent by emphasizing women's experiences of the wedding night and early marital sex as scenes of fear, coercion, and psychological disruption. Das representation of her wedding night as "rape", Deshpande's honeymoon night as "intrusion" and Chiraiya's foregrounding of consent and speaking against the institution highlights shifts in voice, form and address regarding the same issue in the contemporary time where people refuses its normalization by voicing out these issues in public. By placing these works together in dialogue, the paper demonstrates how there is movement from silencing to speaking, from metaphors of opposition to outright naming and confrontation, while also arguing that literature's job in this context is not only one of illustrating personal trauma but of examining the institution of marriage.

I recently participated in an episode of the renowned documentary series "The Time Machine", concerning the myths of Heracles and his labours in the ancient world. In conversation with the journalists and researchers Athena Tzima and Christos Vasilopoulos, I spoke on a series or related topics:
- The ancient traditional tales about Heracles: his birth and childhood, heroic feats and labours, relationships with other heroes and heroines, death and divinisation.
- The ancient literary and artistic sources (poets, mythographers, vase-paintings and other archaeological monuments) which provide information about Heracles and his adventures.
- The various different versions of the myths, as developed by the ancient Greeks.
- The spiritual meaning of the stories about Heracles -- for the ancients and for us, the people of the modern age.
- The reception of Heracles' figure and tales in the modern world, in art, literature, and culture.

See more information in the website of the series:
https://www.mixanitouxronou.gr/oi-athloi-toy-irakli-sti-michani-toy-chronoy-nea-ekpompi/

See the episode in the channel of COSMOTE TV:
https://www.cosmotetv.gr/watch/DIS0022213880/travelling-in-time-s10-e26
https://www.youtube.com/watch?v=TQ-I8RY1hMs

This paper proposes the Sacred Journal Hypothesis-the theory that the foundational texts of major world religions did not originate as divine revelation, but rather as the personal research journals of ancient independent thinkers: philosophers, naturalists, and proto-scientists who dedicated their lives to understanding existence, consciousness, and the cosmos. It is proposed that these journals, over successive generations, underwent a process of theological drift-a gradual reinterpretation by communities who, lacking the scientific or philosophical framework of the original authors, encoded these observations into mythology, doctrine, and divine narrative. This hypothesis is positioned as an advanced extension of Euhemerism and is supported through cross-cultural analysis of cosmological parallels between ancient religious texts and modern scientific theory.

We aim to show in this work that the translation of Sophocles’ Antigona (it appears written as
Antígone), carried out in the second half of the 19th century by the Canarian humanist Graciliano Afonso
Naranjo, was not done directly from Greek, as is the case with some of his other versions, especially
of Latin classics. Instead, he relied on translations made in other languages, particularly French and
English, which were languages that this author was familiar with. In this regard, the extensive research
we have conducted has allowed us to discover many parallels between Afonso’s Sophoclean translation
and the translation of this work made by the English cleric Thomas Francklin (1721-1784).

The aim of this paper is to show the intertextual presence of the Memoirs (1935) of the Infanta Eulalia of Borbón (1864-1958) in a tale of Salvador Espriu (1913-1985), Letizia, un conte de Poe sense Poe ni por (1937), and in a novel, Pamela (1983), by Joan Perucho (1920-2003). Espriu refers to an information that the infanta gives about her sister-in-law Queen Maria Cristina of Spain in a hidden attack against the monarchy during the first months of the Spanish Civil War. For his part, Perucho plays an intertextual game with both the tale of Espriu and the Memoirs of Infanta Eulalia in the frame of a novel that compares implicitly the restauration of the monarchy under King Alphons XII (1874-1885) with the Spanish Transition of 1976-1982.

West, Martin Litchfield (2007) Indo-European Poetry and Myth > There is another Greek goddess who has 'mother' incorporated into her name, much as 'father' is in the name of Jupiter. This is Demeter, in the older form of her name ∆ᾱμάτηρ, with a Lesbian variant ∆ωμάτηρ. As the mistress of cereal crops she clearly had a close association with the earth, and some in antiquity made the equation ∆ημήτηρ = Γῆ μήτηρ.42 The ∆ᾱ-, however, cannot be explained from Greek. But there is a Messapic Damatura or Damatira, and she need not be dismissed as a borrowing from Greek; she matches the Illyrian Deipaturos both in the agglutination and in the transfer to the thematic declension (-os,-a). (It is noteworthy that sporadic examples of a thematically declined ∆ημήτρα are found in inscriptions.) Damater/Demeter could therefore be a borrowing from Illyrian.43 An Illyrian Dᾱ-may possibly be derived from *Dʰĝʰ(e)m- .

Aquest article d'investigació i reflexió analitza l'emblemàtic relat d'Heròdot (Llibre II de les seves Històries) sobre l'experiment del faraó Psammètic I, qui va aïllar dos nadons amb un pastor mut per esbrinar quina era la llengua més antiga de la humanitat. L'autor proposa una reinterpretació crítica de l'anècdota, allunyant-se de la lectura literal per abordar-la com un relat reflexiu, un mite sobre el "bon salvatge" i, especialment, com un acudit conceptual molt agut basat en la lingüística modular.

L'article convida a "prendre amb pinces" les cròniques d'Heròdot. Demostra que sota la capa d'història seriosa transmesa pels sacerdots egipcis s'hi amaga un joc lingüístic subtil on les paraules, analitzades des dels seus components modulars, parlen per si soles i canvien completament el significat tradicional del mite.

Keisz Ágoston az európai és magyar pindarizálás hagyományrendszerében helyezi el Ungvárnémeti Tóth László munkásságát, feltárva a 19. század eleji antikvitásrecepció egyik legkülönlegesebb fejezetét. A szerző bemutatja, miként nézett szembe a magyar költő a pindarosi óda metrikai és strukturális kihívásaival egy olyan korszakban, amikor Pindaros követése már Nyugat-Európában is ritkaságszámba ment. A tanulmány rávilágít Ungvárnémeti Tóth úttörő szerepére: bár közvetlen minták nélkül, mégis az európai neohumanizmus szellemében alkotta meg első metrumhű, ógörög-magyar kétnyelvű Pindaros-imitációit. A filológiai pontosságú elemzés nemcsak a magyar irodalomtörténet egy elfeledett szegmensét teszi láthatóvá, hanem az újkori görög nyelvű verselés töredezett, ám annál izgalmasabb hagyományába is betekintést enged.

This study investigates the Late Neolithic and Early Chalcolithic geological and ecological processes underlying the mythological cycles of the Near East, Egypt, and Asia Minor (the Osiris-Horus legend, the Kumarbi cycle, and the Cypriot Aphrodite myths). Due to the postglacial eustatic sea-level rise, the Mediterranean Sea (encoded in myths as Seth, Cronus, or Alalu) advanced as far south as modern-day Cairo by 6000 B.C., preventing the initial formation of the Nile Delta. This ecological crisis-codified in mythology as the castration and dethronement of Osiris or An-enforced a radical shift in the nesting habits of migratory birds, driving avian populations northward to the safer, freshwater-rich haven of Byblos at the foot of the Mount Lebanon range.

Although violence is often a characteristic attributed to feminine archetypes in mythology such as the warrior goddess or the warrior queen, violence itself doesn't have to be the raison d'être or defining characteristic of a feminine archetype that depicts the darker nature of feminine power. Inherent in the formation and evolution of an aggressive and powerful feminine archetype might be the response to a violation of the goddess' sexual nature. Or the aggression that defines a feminine archetype may exist due to some violence against that goddess' power as a woman. Consequently, the goddess and her actions may be clarified as a response to some

As literacy expanded in Classical Athens, myths became increasingly fixed through textualization, fostering a more analytical and critical approach to storytelling. Euripides did not merely adapt myths for the stage but actively interrogated their origins, authority, and reliability. His tragedies engage with myth in ways that go beyond poetic retelling, incorporating elements of metanarrative reflection, myth rationalization and skeptical revision that align closely with contemporary mythographical practices. Unlike earlier poets, who treated myth in a more authoritative way, Euripides problematizes it, highlighting competing versions and inviting audiences to question what is real or fictional. This volume examines the extent to which Euripides’ engagement with myth mirrors the methods of the mythographers, positioning him as a pivotal figure in the development of myth criticism. His approach —marked by skepticism, intertextuality, and an awareness of myth as a constructed discourse— foreshadows later developments in both historiography and literary analysis. Thus, Euripides Mythographus can be of great value for those scholars interested in exploring the boundaries between genres in the tragic poet.

Dans Les Bacchantes, Euripide témoigne d’un intérêt pour la description anatomique des corps, en accord avec les avancées et les innovations de la médecine, de la physiologie et de la zoologie contemporaines. Des passages de la tragédie sont comparés à un texte hippocratique, Sur les articulations, et à la correspondance apocryphe entre Démocrite et Hippocrate. La perspective zoologique et anatomique des Bacchantes est devenue un puissant outil pour explorer la crise colossale de l’Athènes contemporaine. La fragmentation et la dissolution de la nature humaine et animale revêtent donc une dimension politique.

n este artículo quiero poner de manifiesto la importancia del estudio de la epigrafía como fuente documental. Siguiendo siempre el concepto moderno de esta ciencia, que integra el epígrafe en la sociedad que lo produce, para ello veremos algunos ejemplos griegos (ostraka) y latinos (diploma militar).

At the Acropolis of Athens, a woman appears hovering above the Parthenon — dressed as the goddess Athena herself, spear in hand, owl on shoulder. What begins as a curious spectacle slowly reveals itself as something far more unsettling: an intelligent, silent, and utterly inexplicable presence that refuses to conform to any framework offered by science, religion, or spectacle.