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The article examines the incidence of the Rocky Mountain locust outbreaks in southern Manitoba and adjacent areas, with particular emphasis on the agricultural development of the Red River Settlement. It mentions life cycle began with the laying of eggs just below the soil surface in the source region between late July and early October. It also mentions nymphs were similar to adult grasshoppers but lacked wings and low-density grasshopper population into high-density swarms.

This article discusses the hexameter piece in Aeschylus' fragments 168–168b Radt (probably from Semele or Water-bearers), a hymn to the nymphs of Argos sung by Hera while disguised as a wandering priestess. First I detail the way in which the text evokes and adapts the tradition of hymnic poetry in hexameters (instantiated, among others, by the Homeric Hymns) in both content and form. Then I argue that Aeschylus performs an exercise in generic archaeology, recreating an archetypal stage of the hymnic tradition in the fitting context of a mythical episode. [ABSTRACT FROM AUTHOR]

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The article discusses two famous poetry of Tennyson, The Rape of the Lock and The Princess. Both are not often been read together which may or may not be surprising. The Princess is a version of pastoral, whereas The Rape of the Lock is an urbane, if suburban, poem, making beelines for the boudoir, the salon, and the court.

The Unspeakable Girl is more important for Agamben's thought than its short length, antiquarianism, and belletristic format suggest. In discussing ancient initiation rites through an analysis of the figure of the Kore – the unspeakable girl – it suggests how we might conceive of initiation into form-of-life, thus addressing a pressing question that emerges from Agamben's Homo Sacer project: if Agamben's thought aims at the demystification of philosophy, yet mystery is the essence of philosophical initiation as traditionally conceived and philosophy needs some kind of initiation, how could one conceive of an initiation into that which is without mystery – into the profane. Yet by insisting on an opposition between "authentic" interior gestures and their vulgar betrayal, Agamben undermines his own most radical insight. Such a distinction can never be drawn, and hence a different kind of initiation must be envisioned: not into the critical spectatorship of the dance, but into the dance itself. [ABSTRACT FROM AUTHOR]

In this article the author offer a comprehensive study of two stories told in poet Ovid's Metamorphoses 3 and 4, each about the meeting between a boy (Narcissus/ Hermaphroditus) and a nymph Echo/Salmacis), consumed with desire at first glance. Topics include his argument that Ovid has derived the idea of constructing two parallel stories about erotically desirous nymphs, and Ovid is the ancient author most interested in examining erotic feelings and sexual situations from a female perspective.

Responses to and readings of nude paintings are influenced by contemporary debates on sexual power dynamics. The temporary removal of J.W Waterhouse's 'Hylas and the Nymphs' from display in Manchester Gallery in January 2018 was criticised by commentators and visitors, and framed by the curators of the event as an experiment in reevaluating the Gallery's collections in light of current discussions on gender and sexual exploitation. This article will examine the significance of selecting 'Hylas and the Nymphs' for removal, providing context of the Greek myth the painting depicts and its reception in Victorian Britain, and review the relevance of water nymph iconography and the themes of submergence in water nymph narratives in regard to curation. [ABSTRACT FROM AUTHOR]

The collapse of the lines between reality and fiction occurs from the beginning of the novella when we see that Norbert Hanold is willing to take a fiction for reality, even though an intangible one. This inability to understand the domain of fiction is what plunges Norbert Hanold in a delusion which could have cost him his mental health. In a manner typical for the researchers of the time, he takes one sign for a whole demonstration of fact: he takes Gradiva's right foot position as the unmistakable sign of her identity as the woman who had died hundreds of years before in Pompeii. Although reality seems to want to impose itself on him, he seems unwilling to let go of his delusion and believes, until the last moment, that he is conversing with a woman resurrected from the dead. This delusion is half-supported by his childhood Zoe, who patiently sees himself through his delirium. Gradiva, now coming complete with Teodora Cosman's illustrations, problematizes representation from the point of view of the fictionality/referentiality relation, in the interval between the two of them, being neither fully fictional nor fully referential - as part of a bas-relief which has lost its original context and therefore cannot be fully attributed to a given repertoire. We might take the hints from Jensen's text and say that Gradiva is associated with the cult of Mars or with the cult of Apollo but these references are mere conjectures. [ABSTRACT FROM AUTHOR]

On the Cave of the Nymphs, an allegorical exegesis of Homer’s description of the cave of the nymphs at Odyssey 13.102-112, a passage quoted in full at the beginning of the treatise after the briefest possible indication of the project on which Porphyry is embarking, has been generally given little attention in discussions of Neoplatonic philosophy, as it is deemed to be of little importance for establishing Porphyrian doctrine. However, the treatise contains significant philosophical thoughts on the relationship between the soul and body, embodiment, demonology, and the concept of salvation of soul, which are compatible with his other works, especially On Abstinence from Killing Animals (De Abstinentia) and Pathways to the Intelligible (Sententiae). The concept of salvation of soul is found in Porphyry’s identification of the goddess Athena with phronesis, along with the olive tree, while Odysseus represents the soul descending into genesis, but will return back to his fatherland. In this context, this paper will explore the role and meaning of phronesis, namely the goddess Athena, in the process of the soul’s journey towards the intelligible realm and show the relevance of the Neoplatonic doctrine of virtues, particularly the cathartic virtues, in Sententia 32 to Porphyry’s reading of Homer’s image of Odysseus under guidance of the goddess Athena. Phronesis inspires the soul to incline towards the level of Intellect that is, away from damaging influences of the body to which the soul is enslaved and which confuses it with desires, passions, fears and illusory impressions, and prevents it from attaining the intelligible realm, whereas the body and its desires lead us to conflict and unjust behaviour in order to gain wealth, status, power, and pleasure. [ABSTRACT FROM AUTHOR]

Copyright of Archaeology & Science / Arheologija i Prirodne Nauke is the property of Institute of Archaeology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Colombiana de Entomología is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents an analysis of the genealogy of Ancient Greek poet Pindar for the eponymous nymph of Rhodes in Greece. Topics covered include the genealogy and marine divinities of Rhodes' mother Aphrodite according to Pindar's ode "Olympian 7," the revision of the Rhodian tradition of Rhodes' maternity according to the interpretations of scholars Diodorus Siculus and A. N. Oikonomides, and Pindar's knowledge of the Rhodian myth.

The study of four Homeric hymns reveals some versatility of Nymphs with regard to their maternal and courotrophic functions. In the Homeric Hymn to Hermes, Maia is both a mother and a nurse, combining biological and social motherhood. The Homeric Hymn to Aphrodite offers the first occurrence of nursing Nymphs, but one of the Idaean Nymphs is supposed to be Aeneas’ mother, as the role of Aphrodite remains concealed. The courotrophic function is also attested in the Homeric Hymn to Dionysus, but Nymphs continue to follow the god after raising him, taking part in his thiasos. Finally, the Homeric Hymn to Pan shows an example of biological motherhood without social motherhood, the young mother rejecting her child. Despite the variety of these different roles of mother and nurse, there is some constancy in the mode of action of the Nymphs, which seems to be characterized by a form of care in hiding, making these deities mediating entities protecting the transition between two statuses, from childhood to adulthood.

Although the nymphs are associated with water, trees, and mountains in literature, most archaeological evidence for their cult practice is at extramural caves. At Corinth, however, the Greek cult of the nymphs seems to be focused at water sources within or near the city itself. Using architecture, figurine and pottery assemblages, as well as the configuration of the landscape itself from Kokkinovrysi, the Sacred Spring, Peirene Fountain, and the Peribolos of Apollo, this article shows that the nymphs were an important and visible part of the religious lives of the ancient Corinthians from the Archaic to the Early Hellenistic periods. [ABSTRACT FROM AUTHOR]

The article presents a literary criticism for the seventh Eclogue of Virgil. It mentions that the Eclogue relates a singing contest between Thyrsis and Corydon and the invocation of the Libethrian nymphs by Corydon and of 'Arcadian shepherds' by Thrysis. It cites the observation of several scholars that the Eclogue of Virgil has similarites withan epigram by Erucius such as the names of the characters in both literary pieces.

Prop. 2.32.35-38 may allude to a lost Greek satyr play about Aphrodite's dalliance with Paris, which may have attempted to fill out the backstory in Hom. Il. 3.406-409. There is no need to emend the transmitted text. [ABSTRACT FROM AUTHOR]

Eumaeus' hospitality in Odyssey 14, culminating in the sacrifice of a fatted boar, exhibits features of a post-raid feast. Inspired by the beggar's "Cretan tale," which conflates the themes of raiding and hospitality, the swineherd augments the rustic reception of his guest with an impromptu raid on the very livestock which the marauding suitors have stolen from his master. While the chine compensates Odysseus as the aggrieved victim of robbers, the portion honoring Hermes recognizes the Olympian founder of the animal-raid which, when executed with caution and celebrated with moderation, remains a legitimate heroic enterprise. [ABSTRACT FROM AUTHOR]

The word of Demos has different meanings in and these meanings were not distinguished from one another precisely Greek language. The people or a section of the people, people assembly, a democratic regime, and village, all of them have the meaning of the demos. Athenians belived that their own regime was original and constituted a model to other regimes. As a result of these considerations "The Cult of Demos" was born in Athens. The Cult of Demos has been worshipped outside of the Athenian Agora with Nymphs since fifth century BC. and "The Cult of Demos and Charites" has been established in the third century BC. in Athens. Demos was seen probably first time as a character in Aristophanes' Knights in 424 BC. It is the last quarter of the fifth century BC. that the first known personification of Demos in visual arts was created in a painting by Parrhasios, fallowed by the ones of Euphranor and Aristolaos. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of the History of Sport is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article describes the ancient shrine to the Nymphs called Alogopati or Karapla cave found on the southwest of Pharsalus. According to the author, rock-cut inscriptions provided information about the shrine, with scholars dating the shrine at late sixth or early fifth century B.C.E. He states that the dedication of the cave as inscribed in the walls of the cliff reveals that it was made by a certain Pantalces, while the first eight lines of the poem provides an overview of the shrine.

The aim of this study was to devise a semantic template for non-human being terms. To achieve this objective, four non-human being concepts were analysed, and an explication for each concept was built. Comparing the explications yielded a nine-part semantic template. The usefulness of this semantic template is threefold: first, it eases the task of explicating non-human being concepts because the parts of the template can serve as guidelines to be followed while constructing the explications. Second, it eases the comparison between related non-human being concepts from different languages. Third, it reveals the devices embodied in the structure of non-human being concepts which enable people to use these complex concepts without difficulty. [ABSTRACT FROM AUTHOR]

The article discusses the cult of the minor Roman goddess Anna Peranna, a nymph associated with an annual cycle and festivals. In particular, it describes archaeological evidence uncovered at a foundation associated with the goddess and her cult. Literary references to the goddess and to her cult or its practices are also surveyed. The general nature of nymphs within Greek and Roman religion are also addressed. Then the nymph Anna Peranna is portrayed specifically in terms of ancient evidence and practices associated.

The physician, lay theologian and social reformer Theophrastus Bombast von Hohenheim, better known under his pseudonym Paracelsus, was one of the most radical reformers in the church history of the 16th century. His rejection of any kind of institutional church was as harsh as his critical commentaries on witch persecutions or his thoughts about the relationship between men and women. Still today, great parts of his œuvre are unknown or even not edited, and therefore it is possible to make some discoveries in his texts even in our day. One of the main foci of both the medical and the theological thoughts of Paracelsus was the question of the state and the place of evil in the world of mankind. For him, men and women were living in a world where they are surrounded by all kinds of nymphs, dwarfs, demons, and even witches. But why are they here? Who created them? Do they have a relationship with mankind, and if so, of what kind? One question is especially important: are they evil? Necessarily? Is there an evolution in their relationship to mankind? This chapter will try to answer these questions by giving a glimpse into a current project about Paracelsus that is situated at the University of Bonn. [ABSTRACT FROM AUTHOR]

Porphyry's "On the Cave of the Nymphs" inaugurates a style of philosophico-allegorical interpretation of literary texts that flourished in antiquity and finds analogues in criticism down to the present. It is distinguished by its use of literary interpretation to think through speculative problems of philosophy and theology. Although it became suspect in terms of Enlightenment philological principles prescribing interpretation of the text "on its own terms," this kind of criticism reveals the originally philosophical motives and purpose of literary criticism and restores to literature the vocation of disclosing a properly poetic truth higher than that of fact or history. The history of this type of speculative criticism stemming from Porphyry's reading of Homer is traced forward through Latin allegorical readings of epic revolving around Virgil. This itinerary highlights the perennial and inevitable tensions between philological and philosophical approaches to interpreting literature as a revelation of truth. [ABSTRACT FROM AUTHOR]

The article discusses the metapoetical reading of Propertius' Hylas by Valerius Flaccus. It examines some examples to show that Valerius has read and interpreted Propertius 1.20, a poem which poses several interpretative questions, in a way that resembles modern readings of Latin poetry. It also talks about Valerius' Ovidian Hylas and its relationship with the Propertius poem. The similarities between Valerius' narrative and the story of Salmacis and Hermaphroditus are also discussed in the article.

Presents the poem "A Faun's Afternoon," by Stephane Wallarme.

The article discusses the story of the landscape painting of Andrea Locatelli about a nymph plucking a branch from a bleeding tree. It is noted that Dryope, daughter of Eurytus, King of Oechalia, goes to the lake with her sister and son to pick flowers to be offered to the nymphs. She plucks a branch to be given to her baby, however, the branch bleeds and transformed her into a tree. The event is her punishment for hurting nymph Lotis who transformed into a tree to caught her attention.. She requested her husband and sister to take are her son and be told of her fate.

Examines the association of nymphs to the Greek moon goddess Artemis as confined in the Greek poetry. Comparison on the Hermetic model of the nymphs as opposed to the Artemisian model; Functions of the nymphs in relation to Artemis; Implication of the dissemination of the image of Artemis surrounded by nymphs on Hellenistic and Roman literature.