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A coin featuring the profile of Hera on one face and Zeus on the other, c. 210 AC. Roman conquerors of the Hellenic East allowed the incorporation of existing Greek mythological figures such as Zeus into their coinage in places like Phrygia, in order to "augment the fame" of the locality, while "creating a stronger civil identity" without "advertising" the imposition of Roman culture.
Phlegra: In Greek mythology, the site of Zeus's defeat of the Giants at the end of the Gigantomachy. Inf. XIV, 58. Phlegyas: In Greek mythology he was the ferryman for the souls that cross the Styx. Inf. VIII, 10–24. Phoenix: Mythical bird, which at the end of its life-cycle, burns itself to ashes, from which a reborn phoenix arises.
Leda and the Swan, Roman marble possibly reflecting a lost work by Timotheos from the 300s BCE. More than two dozen examples of this statue survive. restored ()The historian Procopius claims, in his Secret History, that the Roman Empress Theodora acted in a reproduction of this particular myth at some point in her youth in the early sixth century CE prior to her becoming the empress.
In Greek mythology, Tiresias (/ t aɪ ˈ r iː s i ə s /; Ancient Greek: Τειρεσίας, romanized: Teiresías) was a blind prophet of Apollo in Thebes, famous for clairvoyance and for being transformed into a woman for seven years. He was the son of the shepherd Everes and the nymph Chariclo. [1]
Greek mythology has changed over time to accommodate the evolution of their culture, of which mythology, both overtly and in its unspoken assumptions, is an index of the changes. In Greek mythology's surviving literary forms, as found mostly at the end of the progressive changes, it is inherently political, as Gilbert Cuthbertson (1975) has argued.
Backside of a clay tablet from Pylos bearing the motif of the Labyrinth, an allusion to the mythological fight of Theseus and the Minotaur. In the most traditional sense, allusion is a literary term, though the word has also come to encompass indirect references to any source, including allusions in film or the visual arts. [8]
In Georgian mythology, Amirani is a cultural hero who challenged the chief god and, like Prometheus, was chained on the Caucasian mountains where birds would eat his organs. This aspect of the myth had a significant influence on the Greek imagination.
A given mythology is almost always associated with a certain religion such as Greek mythology with Ancient Greek religion. Disconnected from its religious system, a myth may lose its immediate relevance to the community and evolve—away from sacred importance—into a legend or folktale.