The Burning of Persepolis

When Alexander the Great arrived in Persepolis, his men took to looting and pillaging the former home of Xerxes, a Persian who had burnt sacred Greek temples. Persepolis was not a palace, but a complex with palaces, halls, and treasuries contained within it. After three months in Persepolis, Alexander and his men set fire to it. However, it is debated entirely how and why this happened. There are two main stories, that of Arrian, and that of Plutarch. Arrian’s version consists of that of Alexander attempting to exert control over the Persian people, to punish them for destroying Greek temples, and to please the Greeks as a sort of exchange after having sacred temples destroyed. Plutarch’s version is that of a drunken party with a drunk Alexander (unsurprisingly). A Greek prostitute by the name Thais gave a speech, tempting Alexander into setting fire to Persepolis, and regaling how she wanted to punish the Persians for their sacrilege to sacred Greek temples. She said that she herself would start the fire so that history would remember a woman for being responsible for inflicting a greater revenge on the Persians than any general ever had. Alexander, drunk, agreed with her speech and the attendants ran through Persepolis with torches. It is believed in both versions that shortly after starting the fire Alexander changed his mind and ordered to have them put out.

Plutarch's version seems much more plausible. Alexander was known for drunkenness, just as Arrian was known to gloss over any part's of Alexander's story that would make him look bad, and so fabricated a very contradictory version that would make him look better. The story is highly contradictory because Alexander wanted the Greeks and the Persians to get along as they were now both his people, and burning down Persepolis was contradictory to just that. Why hadn't Alexander destroyed Persepolis shortly after he arrived? Or after the pillaging and looting had finished? Why wait an entire three months before consciously burning down something he owned? Additionally, he was beginning to implement his policy of fusion. Why create more tensions between the Greeks and the Persians when he was trying to rule them? Despite the war, he held the Persian people and Persian royalty in high regard, he did not actively seek destruction or massacre after he had won the war. Arrian's version is simply full of too much contradiction to make sense, especially when considering how he was an avid fan of Alexander, which is why I believe Plutarch's version is not only more plausible but far more likely to have been entirely true.

The Troops that Conquered the Persian Empire

 While many things can be attributed to Alexander the Great's military genius and the remaining plans of the deceased King Phillip, none of that would have been possible for Alexander to conduct without the thousands of troops that committed themselves to his army. There were many different kinds of soldier in Alexander's army, with each having different purposes and abilities dependant on their training and status. 

There were two main categories, the infantry and the calvary, which were each made up of 32,000 and 5,100 soldiers respectively, along with technical support and Alexander's personal staff. The mounted cavalry was made up of the Companion Cavalry, the Thessalian Cavalry, the Greek Light Horses, and the Thracians and Paeonninas. The Companion Cavalry was made up of 1,800 soldiers, which included the Royal Squadron, led by Alexander and his personal bodyguard. Besides the Royal Squadron, there were 7 squadrons of 215 soldiers each. The Royal Squadron was made of 300 members, likely excluding some of Alexander's personal staff who weren't soldiers. However, from Alexander's staff were 8 personally selected bodyguards known as the Somatophylates, while the others from Alexander's staff were the Hetairoi, 100 'companions,' who were Alexander's unofficial council, including Eumenes, who kept his journal. 

The foot soldiers, the infantry, were made up of the Phalanx, the Hypaspists, the Greek troops, Thracians and Illyrians, Agrianians, and the Cretan Archers. The numbers resulted in them having a total of 32,000 soldiers, with the Phalanx supporting 6 battalions of 1,500 each, the Hyaspists with 3 battalions of 1,000 each, the Greek troops having 12,000 members, 5,000 of which were mercenaries, the Thracians and Illyrians having 6,500, the Agrianians having 1,000, and the Cretan Archers having 500 members. Most of the soldiers wielded javelins, bows, or the sarissa, a Macedonian creation. The sarissa were made of long wood, found from trees that grew explicitly in Macedonia, with spikes on the end to act as an extremely long spear. It was able to maintain a distance between the Phalanx, the soldiers who wielded them, and the enemy, which enabled archers and disabled their attackers from attacking them while they could charge with the sarissa. It is estimated that the sarissa was 15 feet, or 4.5 metres, long. The cavalry also carried a sarissa, however theirs measured at around 12 feet instead of 15, likely to allow more freedom in movement and attacks. 

The sheer number of soldiers alone is what helped Alexander's conquership, that and the dedication of his own soldiers to his cause. Credit can be lain to the works of the military leaders in terms of their planning, strategies and tactics. However, if not for the contributions of the soldiers of Alexander's army, it is unlikely he would have succeeded in his campaign of conquership over the Persian Empire. 

The League of Corinth

The League of Corinth, decidedly, was successful in its purpose to King Phillip. The purpose of the League was to enable King Phillip in his control of the Greek states such as Athens, Thebes, etc. The military strength of Macedonia intimidated the states into joining the League. Being a member of the League meant that the states were not only at peace with Macedonia and the other Greek states, but that they had further trade opportunities, and were not isolated from trade like Sparta became when they were not invited to join the League. However, what this meant for the League and the states that had military power (Athens, for example) was that King Phillip expected them to assist in his war against Persia, after the Persian people had invaded Athens and destroyed significant monuments. This is what led to the decline in the League’s success as each state held it's own political opinions and did not want to be forced into wars that they did not decide upon. Instead, many states revolted, especially upon the death of King Phillip and the rumoured death of Alexander the Great. However, the control Macedonia held meant that these revolts were quickly and harshly ended by the King at the time, as revolts occurred when both King Phillip and Alexander were in control of the League. When Thebes revolted upon Alexander’s rumoured death, they brought in exiled political figures and brought together their army (supposedly to support the Persian Empire) but were met with the Macedonian army at their gates and Alexander, who demanded the heads of the rebellion leaders in exchange for amnesty. After this debacle, the states rushed to apologise and welcome his safe return, as was expected of them. This showed how for Macedonia, the League was successful, as it allowed them to control Greece. However, it was not successful for the Greek states as they were being controlled by Macedonia against their will despite the numerous benefits. In addition, it led to many Greeks turning to Persia for assistance, whether that be leaving the country or looking to them for support in their rebellion, which was a hindrance to Macedonia.

Alexander's Conquership

Alexander the Great's Achaemenid Empire began with a major battle on the coast of Cappadocia between his travels from Pelia in the Macedonian Kingdom and Sardis in Cappadocia. Cappadocia was the first major area that became apart of the Achaemenid Empire, and held the next two major battles between Tarsus and Tyre and between Jerusalem and Arbela. It was between these battles that Alexander's Conquership led him to the coast of the now African continent, where he conquered areas of Egypt, leading to the very first city named after himself. It was renamed or built on the coast between what is now the Middle East and the African Continent, between 333BC and 331BC. This shows the progress he made in only around four years conquering the entirety of Cappadocia and the coastal area of Africa from his first major battle in approximately 334BC to the next major battle in 331BC. 

Alexander the Great's Beginning

 Alexander the Great was known for ruling the greatest empire known to the modern world, and was tutored by Aristotle himself, in politics, literature, and rhetoric. Alexander's rule started in Macedonia, where he ascended to the throne at age twenty after his father was murdered. Alexander's father introduced him to military structure early, at approximately age sixteen Alexander was introduced into military life when his father went to war with the Scythians and had full scale battles in the Battle of Chaeronea. In stories written by Plutarch, Philip II of Macedon told his son, "My boy, you must find a kingdom big enough for your ambitions, Macedonia is too small for you." His rule began from age twenty and only lasted twelve years until his death at age thirty-two, meaning that he conquered the Eastern Mediterranean, the Middle East, Egypt, and the Persian Empire with twelve years. 

The Prequel to the Royal House of Mycenae

Unsurprisingly, the tales of the royal family of Mycenae are overly complicated and filled with gore, rape and incestuous literature. The saga begins with the tale of Tantalus. He was king of Mycenae and blessed to be a friend of Zeus. He was once even blessed to have dinner on Olympus with the gods, however, this went to his head. When he issued a return invitation, he wanted to know how perceptive the gods were and served them the cooked flesh of his firstborn son Pelops. All the gods, bar Demeter. refused the meal. However, she accidentally ate the meat of Pelop’s left shoulder. Tantalus was punished for his hubris by being imprisoned within the Underworld, immortally surrounded by sweet fruits and water, but never being able to consume it. It would be Pelop’s deeds that would curse his own children and grandchildren for generations. They would be subjected to rape, incest, and murder, and each would try and try for revenge.

This image is a depiction of Tantalus’ punishment in Tartarus, the most damning of Hell, where he was forever prevented from drinking the water he could swim in. It would simply recede when his mouth reached for it. The fruit would do the same, rising from his reach when he wished nothing more than to eat. The creator of the painting is entirely unknown.

Findlay, M., 1999. Classical mythology. Auckland, N.Z.: Longman, pp.78 - 81.

Roman Customs and Educations

The Romans lived in a patriarchal society in which the father and husband were the sole provider and directors of the household. They controlled the family, including the children’s lives and future marriages. Their children’s marriages would be organised by the father, never for love, but for stability. Arranged marriages were the normality, and many got married before they reached the age of twenty. This was especially true for the women who often married those who were years older than themselves and were still expected to bear children at that young age. It is thought that some were married as young as twelve. When searching for their children’s future marital partners, fathers would often ask friends and family to help them search for unmarried children whose fathers were searching for matches. One letter recounts this, as written by Pliny the Younger found recorded in The Ancient World by R.J. Cootes and L. E. Snellgrove. “Dear Junius Mauricus, You asked me in your letter to look out for a husband for your brother’s daughter… I think young Minicius Acilianus is just the man…” This quote goes on to list his good qualities and the fact that the potential matches father is rich to the receiver of the letter. This shows how the matches as made by the fathers were often written like advertisements to entice the fathers to make the matches as it was often like a business exchange. This idea of it being a business exchange was likely especially encouraged for those of higher status. This idea of a business exchange showed how the fathers ran the household compared to the modern ideas. It was done in order to continue the family line instead of doing something for the good of their children.

Cootes, R. and Snellgrove, L., 1991. The Ancient World. 2nd ed. Essex: Longman Group UK Limited, pp.159 - 164.

The Development of Phases of Art in Greece for Men Versus Women

The development of art in Greece from the black-figure period to the red-figure is comparable for men and women. The descriptions of the changes over time show that within the black-figure period of painting, many of the artworks were less detailed and more rigid. There are only straight even lines to create rigid cuts. This makes the musculature carving on the men’s pieces seem more defined, if still unrealistic. The rigid lines are used similarly within the depictions of women. Except, it does not show defined muscles, but straight dropping dresses with no defining curves. This changes as we progress into the red-figure period as we see within the artwork more curvature in the painting. There are fewer straight muscles on men with little curves, and more accurate musculature depictions in their bodies. With women similarly, the paintings become more naturalistic in depiction, with more curves in their depiction and clothes clinging to said curves in order to show more stylisation. This depicts the changes over time in Greek vase painting showing how people developed their skills and how art developed within Greece as a whole. The difference between women's and men’s paintings is minimal as they both developed to be more specific in painting the characters depicted. However, as a whole, the largest changes in artwork were between the eras of stylisation.

Campbell, J., & Harrison, K. (1997). The Art of Greek Vase Painting. Addison Wesley.

Theseus' Heroes Journey

Part 1

The story of Theseus begins with his parents, the King Aegeus of Athens, and the daughter of the King of Troezon, Aethra. They were married in secret, and after Theseus was produced as the king's heir, the king returned to Athens and told his wife that when their son reached manhood and could move the boulder that hid a sword and sandals he could return to Athens to claim his birthright. However, on her wedding night Aethra was also seduced by Poseidon on the coast, and laid with him. This produces Theseus’ godly blood, and so he becomes a demigod son of the King.

Ordinary World

Theseus resides with his mother, with no knowledge of who his father is. His mother had been secretly married to the King of Athens, his father, but also seduced by Poseidon, to produce Theseus. He was raised in Troezon by his mother and grandfather.

Part 2

When Theseus becomes of age, his mother tells him that he may meet his father if he is to move the boulder that hides the sword and sandals. At her challenge, he moves the boulder and claims his prize, eager to meet his father. She told him that he resided in Athens, and to take the sea to reach him rather than the robber infested roads.

Call to Adventure

Theseus, in Troezon, is set on a seemingly impossible task to know more about his father. He succeeds in moving the boulder and retrieving the sword and sandals that will lead him to his father.

Part 3

However, Theseus’s mother warns that he will likely not return home if he is to meet his father and that the only safe passage is through the sea so that they can avoid the robber infested roads on the way to Athens. Theseus refuses to follow this advice and crosses onto the roads to reach Athens rather than crossing the sea to his mother and grandfather's advice.

Refusal of the Call

Theseus refuses his mother and grandfather's advice of not meeting his father, and sets off on a dangerous road from Troezon to Athens to meet him.

Part 4

When Theseus finally reaches Athens after a long and challenging journey, he gets to meet his father the King of Athens, Aegeus. At first, his father does not recognise him, and the wicked stepmother Medea wishes to kill Theseus so her own sons reside on the throne. The king recognises the sword and sandals Theseus carries at dinner and stops his wife just before she poisons him with wine.

Meeting the Mentor

Theseus meets his father, King Aegeus, in Athens, who has since married the witch Medea who has bore sons. She wishes to kill him so that her sons will be the only heirs. Aegeus has dinner with his family, and upon recognizing that he is who he claims to be based on the sword and sandals, stops his wife from poisoning Theseus.

Part 5

A ship soon arrives while Theseus resides with his father, and soon enough he realises that it has saddened his father beyond belief, but he will not tell Theseus what troubles him. He soon learns that the king of Krete is demanding yearly sacrifices to the minotaur so that he is fed well after his eldest son died in Athens. Aegeus must send seven men and seven women to appease the king and prevent war each year. Theseus comes up with the idea that he himself will go as a male tribute to defeat the minotaur and prevent further sacrifices. His father refuses to send him at first but soon relents. They agree that should Theseus return safe, he will hoist white sails on his ship, so that the king will know of his state before his return. So, Theseus boards the ship and leaves for the labyrinth.

Crossing the Threshold

Theseus learns that each year, his father is forced by the king of Krete to send seven men and seven women to the labyrinth, after he is blamed for his eldest son dying in Athens, and Theseus offers himself so he may kill the minotaur. His father refuses at first but soon allows his son to go on. Theseus boards the ship to the island of Krete, and tells his father that if he should return home safe, he will hoist white sails so that his father knows before the ship docks.

Part 6

Their journey was met with no difficulty and no trials. And so, when Theseus arrived and was presented with other sacrifices in front of King Minos, he presented himself as the prince of Athens and the son of Poseidon. Minos, in an attempt to taunt Theseus’ proclamation of being the son of the god Poseidon, took off his ring and tossed it into the ocean so that Theseus would be forced to retrieve it. He dived into the water and began praying to Poseidon for assistance. The nymph Thetis appeared and returned the ring to him, and gifted him with an old crown. He returned these items to the king who laughed at him. 

As they would not approach the minotaur till the next day, the sacrifices were taken away, however, Theseus was visited in the night by the daughter of the King, Ariadne. She was well versed in the labyrinth and said if Theseus took her to Athens and made her his Queen, she would gift him something that would assist his journey in the labyrinth. Theseus agreed and received a ball of silk. She told him he would find his way back with it if he tied it to a rock at the beginning of the labyrinth and released the string as he travelled.

Tests, Allies, Enemies

Upon arrival Theseus is met by the test of King Minos who mocks him for proclaiming to be the Prince of Athens and son of Poseidon. He throws his ring into the ocean and orders Theseus to retrieve it. Theseus dives into the ocean and prays to Poseidon, and is greeted by the water nymph Thetis who returns the ring and gifts him an old crown. Theseus returns these items. 

Theseus makes an ally of Ariadne, the daughter of the king. She approaches him while the other sacrifices sleep and makes an alliance with him. If he returns to Athens with her as his Queen, she will assist him. He agrees and is gifted with a ball of silk, which she tells him to tie to a rock at the beginning of the labyrinth and slowly release so it can guide him to the entrance.

Part 7

The next morning the sacrifices are gathered at the entrance to the labyrinth. Upon being sealed inside, Theseus asks for all of them to trust and follow him, they agree. Theseus takes the string gifted to him by Ariadne and ties it to a rock, and as they venture towards the centre of the maze where the Minotaur resides, they slowly release the string so that they can guide themselves back to the entrance.

Approach the Innermost Cave

The sacrifices enter the labyrinth. Theseus ties the string to a rock at the entrance and asks for everyone to follow him. Oer Ariadne’s instructions, they release it as they approach the centre of the maze where the minotaur resides.

Part 8

When they meet the beast, they have found him so quickly that he still sleeps. Theseus approaches it, slowly, and then rips off one of its two horns after leaping onto the beast's head. He takes it into his hand and stabs the minotaur with it as it cries furiously. Theseus then runs a distance from the beast, as the others have done, and takes the horn covered in the beast's blood still. The minotaur is still moving and angry at Theseus. Theseus takes the horn and throws it like a javelin, lodging it in the beast's neck to kill it.

Ordeal

They find the beast still asleep. Theseus leaps onto its head and rips off one of its horns to stab it. He then runs a distance away to use it as a javelin to lodge in the beast's neck as it charges.

Part 9

Theseus and the sacrifices cheer at the defeat of the beast, and soon take the string to guide them to the entrance of the labyrinth. Upon their return, they greet the king and princess with news of the minotaur's defeat. With the princess at their side, they board the black-sailed ship for their return home.

Reward

The string guides them to the entrance of the labyrinth, and with Ariadne, they return to their ship to sail home.

Part 10

As they sail home, in one night Theseus has a vision of the god Dionysus. The god tells him that Ariadne is fated to be his bride, and if she is not left on the island that there will be a great price to pay. So, out of respect, they stop at an island and Theseus is forced to leave Ariadne there to become the god Dionysus’ bride. Before she meets Dionysus, she curses Theseus in anger of being abandoned, in turn, he does not know of her curse and grieves his loss.

Road Back

Theseus is warned by Dionysus to leave Ariadne on an island to become the god’s bride while they sail home. She is left on the island which saddens Theseus, but she curses him in anger.

Part 11

They continued home, but the crew, out of grief for losing Ariadne’s company, or from the curse of Ariadne, does not change the sails. Aegeus, Theseus’ father sees the black sails and assumes his son's death at the hands of the minotaur despite him being on the ship. Aegeus had been waiting on a cliff to best see his sons return, and upon seeing the sails, jumped from the cliff into what is now called the Aegean sea out of grief for supposedly losing his son.

Resurrection

Theseus’ grief at losing his lover to the god Dionysus and the crew's grief, or Ariadne's curse, lead them to forget to change the sails to white to signal Theseus’ safe return. Aegeus, who waited upon the cliffs for his son's return, jumped upon seeing the black sails and thinking his son was dead.

Part 12

As Theseus returns, the knowledge of his father’s death greatly saddens him, as it was at his own hand. However, he is praised and celebrated for the killing of the minotaur and the return of the other thirteen sacrifices, he is hailed as a great warrior for his adventures. He becomes king of Athens as the eldest son.

Return with the Elixir

Theseus returns and becomes the king of Athens.

Bibliography

Adventures of Theseus: https://greekgodsandgoddesses.net - Greek Gods & Goddesses, February 7, 2017

"Greeka" March 16, 2022. https://www.greeka.com/attica/athens/myths/theseus/

GreekMythology.com, T. Editors of Website. "Theseus Adventures." GreekMythology.com Website, April 14, 2021. https://www.greekmythology.com/Myths/The_Myths/Theseus_Adventures/theseus_adventures.html.

Close Viewing: Max and Furiosa's Developing Relationship through Dialogue

Currently, we are studying the film Mad Max, Fury Road, by director George Miller, as the piece used in our close viewing. I have worked with Molly to create this paragraph describing Max and Furiosa's developing relationship through dialogue with the support of makeup and the corroboration of trust formed in the previous scene. 

In Mad Max, Fury Road, director George Miller uses dialogue to effectively show how Max and Furiosa’s relationship has developed over the course of the film. In the scene where Furiosa drives the War Rig on the final stretch, Max wakes up after a traumatic nightmare, while the wives sleep and Nux protectively holds Capable. Furiosa’s dialogue, “It’s okay. Sleep. Get some rest.” shows how Director George Miller uses the aspect of dialogue to effectively show the development of their relationship. Through the undertones of affection in her speech, Miller shows how Furiosa and Max have bonded through their journey of survival. Specifically, dialogue is used to show the audience how Furiosa has come to trust Max and had become concerned over him and his wellbeing. Prior to this scene, the audience sees how the characters, Max and Furiosa, have been uncertain of each other - due to the circumstances of their meeting. The lack of dialogue between the characters makes this interaction significant to the audience, as beforehand, this degree of communication was saved for life-threatening circumstances. This minor interaction created by George Miller means that the audience can understand the degree of trust that the two characters now shared. The development of their relationship is complemented by Furiosa’s make-up - in particular, the oil smeared on her forehead and around her eyes. In life-threatening situations prior to this scene, Furiosa has applied the oil to her face, showing how she is putting on a mask to create emotional distance from what she is doing. During their conversation, the brighter scene allows us to notice how the oil has faded. Furiosa’s mask has faded as well, she is emotionally exposing herself to Max by showing her concern over him. This concern Furiosa has for Max has been created as they learn to trust each other. We see the amalgamation of this trust shown in the previous scene where Max concedes that Furiosa is a better shot. However, Furiosa still chooses to lean on Max for help, figuratively and literally. This shows how the pair have come to connect and trust in life or death situations. The connection between the scenes is significant because while the pair trust each other with survival, it is another thing to care for one another. Furiosa’s expression of concern shows how their relationship has developed beyond needing each other to survive to wanting each other to survive.

The Twelve Olympians: A Basis

Greek Name: Artemis

Roman Name: Diana

Domain: The moon, Hunting and Wild Animals, Archery, and Children

Iconography: Deer, Bows and Arrows,

Creation Story: Artemis and Apollo were born to Pheobe’s daughter Leto by Zeus, who was cursed to never give birth on land and so sought a precious island which was the only place where she could give birth as it floated above the water. Artemis was born first, and helped her mother birth Apollo.

Greek Name: Apollo

Roman Name: Apollo

Domain: The Sun, Medicine, Music, and Archery

Iconography: Bows and Arrows, the Lyre

Creation Story: Artemis and Apollo were born to Pheobe’s daughter Leto by Zeus, who was cursed to never give birth on land and so sought a precious island which was the only place where she could give birth as it floated above the water. Artemis was born first, and helped her mother birth Apollo.

Greek Name: Hestia

Roman Name: Vesta

Domain: The Hearth, Home, Fire, Domesticity,

Iconography: Fire, Hearth

Creation Story: She was saved by Zeus, her brother, from her carnivorous father Kronos. Until the rise of Dionysus, she was deemed an Olympian, after which she abdicated.

Greek Name: Hermes

Roman Name: Mercury

Domain: Trade, Messengers, Thievery,

Iconography: Wand

Creation Story: As a newborn Hermes ran from his mother and stole cattle from Apollo. He pulled many tricks and created the lyre, so Zeus found him amusing and made him an Olympian.

Name: Athena

Roman Name: Minerva

Domain: Wisdom, War, Weaving, Crafts

Iconography: Aegis, her Shield, Owls

Creation Story: Athena was born by springing from the head of Zeus upon her birth, fully grown. She was to be born by Metis, however, paranoia from the prophecy about a second child of Metis overcame Zeus as he swallowed her to prevent a second child. He soon had an unbearable headache, and Hephaestus split his skull open to show Athena fully grown.

Greek Name: Ares

Roman Name: Mars

Domain: War, Courage, Battle lust,

Iconography: Helmet, Serpent

Creation Story: One of the first children born to Zeus by Hera

Greek Name: Hephaestus

Roman Name: Vulcan

Domain: Smiths, Fire, Metalwork

Iconography: Hammer

Hera, spiteful of Zeus’ affairs, proclaimed that she would have a child without him or any man, and gave birth to a crippled child, Hephaestus. She was in horror of his ugliness and threw him off Mount Olympus. He was raised by nymphs and was spiteful in turn to his mother.

Greek Name: Hades

Roman Name: Pluto

Domain: The Dead, the Underworld,

Iconography: Royal sceptre, Cornucopia

Creation Story: Hades was saved by Zeus, his brother, from his carnivorous father Kronos. He fought in the Titan war and when all was won, he drew straws with his brothers Zeus and Poseidon. After drawing the shortest straw, he became King of the Underworld.

Greek Name: Aphrodite

Roman Name: Venus

Domain: Love, Beauty, Procreation

Iconography: Conch shell

Creation Story: When the remains of the castrated Ouranos fell into the sea, they created seafoam from which Aphrodite emerged. The gods were taken by her beauty, but to prevent a war, Zeus ordered that she be married to Hephaestus.

Greek Name: Hera

Roman Name: Juno

Domain: Marriage, Women, Family

Iconography: Scepter, Cow

Creation Story: Was saved by Zeus, her brother and future husband, from her carnivorous father Kronos. She became married to Zeus when after she rejected him, he turned himself into an injured bird. When she held the bird to her chest, Zeus transformed and forced her to lay with him. She wed him out of shame and stays faithful as the goddess of marriage.

Greek Name: Demeter

Roman Name: Ceres

Domain: Grain, Bread, Agriculture

Iconography: Grain, wheat

Creation Story: Was saved by Zeus, her brother, from her carnivorous father Kronos.

Greek Name: Zeus

Roman Name: Jupiter

Domain: The Sky, Thunder and Lightning, Law and Order,

Iconography: Thunderbolt, Eagle

Creation Story: His carnivorous father Kronos ate his siblings before Zeus was hidden by his mother. He returned and freed his siblings by tricking his father into drinking poisoned wine and regurgitating his siblings.

Zeus' Origins: A Kahoot

https://create.kahoot.it/share/zeus-origin/194911b0-9da9-4276-b5af-ddaecab97604

The overthrowing of Ouranos by Kronos and his titan brothers brought in a new era of ruling. Kronos ruled over all with his sister and wife, Rhea, and each of the four brothers who assisted him now ruled a different corner of the world, the north, the south, the east, and the west. Upon the birth of Kronos’ first daughter, Hestia, Kronos’ own mother, Gaia, foretold that one of his children, a son, would overthrow him as he did to his own father. In his paranoia. He swallowed his first child, despite them being a daughter and not a son. This continued until Zeus was born and the defeat of Kronos was on the horizon. This Kahoot is designed to challenge the general knowledge of those generally interested and force them to think critically about what they’ve learned of the story of Zeus. This challenges the story of Zeus’ heritage, marriage and children, and how he came into power.

Between Māori Myth and Greek Titan Myth: Comparing the Birth of the Gods

The myths of Ranginui and Papatūānuku, the Sky Father and the Earth Mother of Māori legend, and the creation myth of their godly children can be compared to that of Kronos and Rhea, the Greek titan of time and titan of fertility, and their own children's birth.

Upon their birth, Ranginui and Papatūānuku’s sons were held tightly between the two, with no space to move or roam as the parents held each other tightly. Soon the sons began to anger as they wanted to have their own space to grow beyond the limitations of their parents, and they began to try and push their parents apart. Each son tried and tried by themselves, until their son Tānemahuta, who became the god of the forest, separated his parents from each other by pushing them apart with his legs rather than his hands like his brothers had tried. He forced his father into becoming the above and the sky, while his mother stayed as the earth, and with their separation came light.

Before the birth of Kronos’ children, he was told of a prophecy of his son overthrowing his reign. As his next child was born, a daughter, in his paranoia he ate the first child, Hestia. He continued to eat each child as Rhea birthed them. Upon the birth of Zeus, Rhea decided to instead present Kronos with rocks swaddled in blankets, while her newborn rested safely on the isle of Krete. He knew nothing of it, and years later, Zeus, his son, would return to free his siblings. He tricked Kronos into digesting poisoned wine and in turn, his father regurgitated all of his siblings who returned to Zeus’ side to oppose the titan's reign.

These myths can be compared through their messages of how the godly children escaped their parents to come into their power by separating them and defying their father. Their mother, who are both at least associated with the earth, are left to be close to their children, while the father is cast away. It is only once one specific son in each of these myths defies their father on their own do the siblings become free of imprisonment to escape and come into great power as they leave their parent's shadows to become greater than them.

The Relevance of Hierarchy in Society Through the Eyes of Shakespeare's Working

     A day of lectures has left me with one particular thought in mind. Shakespeare inadvertently instilled religious beliefs into his plays, which instilled religious beliefs in his audience. This was discussed during one of our periods today with an English teacher, on behalf of preparation for English Scholarship Pathways in our near future. 

    We attended four of these sessions, however, the discussion about Shakespeare was the most interesting to me. This may be because of my previous involvement in performing his plays as a regular member of the Shakespeare performance team, however this time around, my interest was piqued by the discussion of the hierarchy that was discussed using the examples of Shakespeare's plays. When the hierarchy was upset, the play descended into chaos. This hierarchy did not feature man at the very stop, instead, it held God as the figure at the top. This heavily aligns with the Christian or Catholic beliefs from Shakespeare's time period.

    During the era in which Shakespeare existed, God's existence was not questioned. It was simply a fact. Shakespeare, who was religious to my knowledge, wrote stories using existing stories and turned them into plays anyone could understand. Religion is mostly not explicitly discussed, besides in the Merchant of Venice, only the speculation of God's actions is discussed in detail. This can be taken into account on many occasions when side characters who are not even written into the play with names allude to situations and wrongdoings. Several occasions have characters alluding to these through the actions of those not human. The roosters crowed through the night, not at dawn. The crops died of disease. The waters are no longer safe to drink. And finally the ever famous line, a storm is brewing. Each of these sayings alludes to something out of the control of any of the characters and is instead believed to be the result of God's punishment of sinners. The worse the outcome, the worse the crime.

    This clearly displays the relevance of hierarchy, and religion, within Shakespeare. God is not a wholly loving being and will punish those who have done wrong, no matter who they are. This hierarchy that was created picturing God at the very top within Shakespeare's plays may not have been as relevant to us now as it previously was among religious Europe, but now with the surge of varied religious people having access to Shakespeare's work, we can now assess it through a non-religious perspective or assess how the people of Britain particularly perceived God. 

Personhood?

    The definition of 'human' is having the qualities, faults, and feelings that people have, as opposed to gods, animals, and machines. This complicates the idea that 'human' is a species, where it is more defined as a title that could be given on the behalf that something is 'human' enough. This leads to what and who can be defined as a 'person.' A person is a being that has certain capacities or attributes such as reason, morality, consciousness or self-consciousness. This again complicates the idea that a 'human' or 'person' is simply a matter of being a species that is held in higher regard because of the consciousness or intelligence held. 

    Both of these definitions lead to the idea that one could be 'human' or a 'person' without being biologically human. This has led to an animal being given the title of personhood. An orangutan named Sandra was granted 'personhood' in 2014 by a judge in Argentina. She was termed by the court as a 'subject of rights' and later a 'non-human person.' This allows freeway where the term 'person' is loose and only requires certain capacities.

    When an animal can gain personhood, why can't artificial intelligence gain the same right? In the near future, where artificial intelligence can develop emotions and have advanced cognitive processes, would we be able to consider artificial intelligence 'people?'

Identity Questions

 In researching the identity as a whole and as humans, we have been asked about the theory surrounding the ship of Theseus. The theory questions if every part of a ship is replaced, is it still the same ship? This question relates to the idea of human identity and how it exists. It poses the question of if there is an answer at all. In human biology our cells are replaced and recycled regularly, does that mean we are the same person with the same identity?

I believe the answer is that identity is ever-changing within all people, but as a whole, we are the same person as long as we retain parts of our identities we have had over time. This can relate to the memory theory in a way but is more similar to being able to recount how we once were and remembering it instead of it letting our identity as a whole.

The memory theory is the idea that memories we retain create and influence the identity we hold. As long as we remember something, there is some way we are influenced by it. This is obviously flawed with circumstances of incorrect memorisation of things or amnesia. There are many questions that can be offered along with this. Would you still hold the same developed fears and trauma? How would mental disorders affect you? Would you retain mannerisms, vocal tics, and accents?

Multiple Intelligences and Growth and Fixed Mindsets

 What does multiple intelligences mean, and how do they tie into growth and fixed mindsets?

The idea of multiple intelligences proposes the idea that there are more facets of intelligence rather than the standard ability. As defined by Gardner, there are eight (sometimes nine) facets of intelligence such as:

1. Kinesthetic
2. Interpersonal
3. Visual
4. Linguistic
5. Mathematical
6. Naturalistic
7. Intrapersonal
8. Musical
9. (And occasionally) Existential

This is highly different than how people usually categorise intelligence. To others, intelligence is reading and writing, maths, and science. While being intelligent can include this, it is not the only form of intelligence, especially since reading and writing, and maths are not even categorised as the same form of intelligence.

Personally, I find that after a self-reflection and three different quizzes, linguistics is my highest level of intelligence. I also found intrapersonal, existential, and mathematical to rank high. Two of my lowest ranking intelligence types are naturalistic and musical. 

If an aspect is low ranking, it does not mean that you cannot improve upon these skills. This is where the idea of growth and fixed mindsets. A growth mindset is where someone is willing and capable of developing talent through practice and can acknowledge that failing is a step to success. A fixed mindset is where someone believes that talent is something you are born with and that cannot be changed, most often these people are scared of failure so they do not try or attempt new things.

By having a growth mindset, one can acknowledge what they are bad at and practice to improve themselves. This is why it is better to have a growth mindset. Someone with a growth mindset can set to improve themselves and see failure as something good; with failure comes the knowledge of what not to do when you try again. Having a growth mindset allows someone to be capable of improving at what they are bad at without the fear of being bad or needing to improve for the sake of others, like how someone with a fixed mindset may feel.  

It's been a while...

It's been over a month since I have updated my blog about my artboard. Since then we have had holidays and have entered the final term of the school year, this week is the last week left for the term before study leave. During the holidays I was able to come in 3 of 4 days so I could begin a new series with a new art style as well. I have created more than eight pieces that are all connected with the subject of the Black-eyed Susan flower, fractures, and eyes. I used sketchy and untidy lines (no matter how much it annoyed me in the beginning) because of the rough sketch that I originally used when I sketched the ideas out during class and did not have access to the actual application I use. From this sketch, my teacher gave me the advice to use this as my art style and continue to build off of that with my given subject matter. The next few pictures are a few of the pieces from this that will be going onto my board. 

This was the first piece I sketched and coloured with the new art style. You can see later how I have changed the colouration of the flowers to better suit the actual flower and how I've changed how I highlight the eyes.

This is the second piece done in the art style I changed to for the series. It lacks the fracture, which is one of my board's subject matters, but it shows the development of the flower with highlights and shadows. Additionally, there is a rough sketch line then a thicker baseline with all parts of the piece unlike before.

This piece was done much later on as I moved onto shifting from one set of art pieces to another. Again, this does not include the fracture subject. For this piece, I wanted to focus on the asymmetrical face with two matching eyes. As well, I wanted to experiment with a new form of background which I would use later on to make a singular eye based piece. I found that the purple contrasted well with yellow in the petals and eyes.

These next two pieces were ones I worked on for my first board that were not part of the subject matters including the Black-eyed Susan flower, fractures and eyes. These were made to continue with the subject matter of the feathers used in earlier pieces. I like working on these two since I was able to experiment with how to create the texture of the feather. The idea of white ink near the end of the quill was a result of me experimenting with the invert filter on the background.

Art Board Update

In the last week, we have continued to work on the artboards and developing the pieces. While I have not done much physical art, I have come up with ideas on what my next pieces may be. The first idea I had in mind was something I sketched earlier in the year and recently looked over again. It was a sketch of a pear, and while it was not detailed the description showed that the pear had a wedge cut out of it and laid beside it. The wedge is clean and fresh, it looks like a normal cut of a pear. However, inside of the pear, it has been cut out of it is rotted and brown in comparison. This is the idea that something can still be taken out of perspective as positive when it comes from something negative and rotted.

The second idea was given to me by my teacher, this was to expand upon the linocuts I previously did with the cameras and pastel colours. The idea is that I will cut more from the lino piece and reprint over these pieces so that the pieces each contain more colours in their composition. 

The third piece I had the idea of doing was parallel to the piece I had previously created of the girl with the feather behind her ear. This would be somewhat inverse as the colouration of the piece will be held inside the black line and the monotone colouration will be outside. So far, this piece is more of a cartoon-like style and shows no colour at this point. The piece shows a younger person with a short haircut that sweeps over. It shows a side view of the person's face, it faces the opposite direction to the previous piece that it somewhat alludes to. The picture shows the original sketch. 

Logos, Pathos, Ethos,

Logos

Logos references the usage of logicality when writing or/and speaking to persuade someone or a group. This can include making an appeal to the logical applications through stating facts, quotes or statistics. These assist with writing and speaking by giving an explanation or reasoning that appeals to less emotionally inclined situations such as business and political involvements. 

Pathos

Pathos references to the usage of an emotional standpoint. This can include using emotionally provocative language, stories or hypothetical situations to appeal to those who are more motivated or convinced by the emotional standpoint rather than the logical or ethical points. This can be seen with many charities and how they use an emotional standpoint in order to convince the watchers to donate.

Ethos

Ethos is particularly set apart from Logos and Pathos due to its principal and usage. The idea of Ethos is to use one's credibility, trust, or status to convince someone or argue against them. This can be seen in many advertisements through celebrities giving the product status by being involved with it.