Pleas note that the names posted are altenate names for these gods Keto- Goddess of trouble at sea. Khione- Godddess of snow. Khloris- Goddess of spring flowers. Khronos- God of time. Koios- Titan of knowledge. Komos- God of comedy Kore- Goddess of spring and queen of the Underworld. (Also known as Persephone) Krios- A Titan known as the Ram Kronus- Father of the Gods. Kybele- Goddess of mountains and wild animals.
GodsAresApolloAchelousAristaeusAstraeusAsclepiusGoddessesAphroditeArtemisAthenaAcheloisAmphitriteAntheiaAphaea
This is another tough one to answer quickly. In Greek, the letter K is "Kappa" - the hard K sound. In Latin, there was no "K". They used the letter "C" for this sound. For some reason, as Latin changed, the hard "K" was replaced with the soft "S" sound. As an example, we pronounce Cicero as "SIS-er-oh" when in fact, it was "KIK-er-oh". So, most of the Greek mythological names have been "Latinized", so that the Romans would understand their meaning. Whenever there was a "K", it usually becomes a "C" when Latinized (unless it starts with CH, which is actually the letter Chi or "X"). Those names that start with K were ones not observed by the Romans. As an example, Cronus was actually Kronos. Here are the ones I know: Coeus (Κοῖος - Koios), Crius (Κρεῖος - Kreios), Clymene (Κλυμένη - Klemene), Cottus (Κόττος - Kottos), Caerus (Καιρός - Kairos), Corus (Κόρος - Koros), Kakia (Kακία), Kalokagathia (Καλοκαγαθία), The Keres (Κῆρες), Koalemos (Κοάλεμος), Kratos (Κράτος), Kydoimos (Κυδοιμός), Clotho (Κλωθώ - Klotho), Cerberus (Κέρβερος - Kerberos), Keuthonymos (Κευθόνυμος), Kokytos (Kωκυτός), Ceto (Κῆτώ - Keto), Cymopoleia (Κυμοπόλεια - Kymopoleia), Karkinos (Καρκίνος), Celaeno (Κελαινώ - Kelaino), Cabeiri (Κάβειροι - Kabeiroi), The Cercopes (Κέρκοπες - Kerkopes), Comus (Κόμος - Komos), Corymbus (Κόρυμβος - Korymbos), The Curetes (Κουρέτες - Kouretes), Cybele (Κυβέλη - Kybele), Cladeus (Κλάδεος - Kladeos), Cocytus (Kωκυτός - Kokytos), and of course, the Cyclopes (Κύκλωπες - Kyklopes)
Maged El Komos has written: 'The convincing writer' -- subject(s): Rhetoric, Exposition (Rhetoric), Reasoning 'Prostitution et pornographie'
Komos (or Comus) was the god of revelry, marrymaking and festivity. He was the son and the cup-bearer of the god of wine Dionysos. Komos was depicted as a child-satyr with asses ears
Ragy Georgy El-Komos Mitias has written: 'Patterns of problem solving behavior among prospective science teachers' -- subject(s): Science, Methodology, Thought and thinking, Reasoning, Problem solving
No. Tsunamis are the result of earthquakes that occur under the ocean, primarily in subduction zones. The Colorado Rockies have neither of these traits.
1374 from Old French 'comedie', from Latin 'comoedia', from Greek komoidia 1374, from O.Fr. comedie, from L. comoedia, from Gk. komoidia "a comedy, amusing spectacle," from komodios "singer in the revels," from komos "revel, carousal" + oidos "singer, poet,"
Pleas note that the names posted are altenate names for these gods Keto- Goddess of trouble at sea. Khione- Godddess of snow. Khloris- Goddess of spring flowers. Khronos- God of time. Koios- Titan of knowledge. Komos- God of comedy Kore- Goddess of spring and queen of the Underworld. (Also known as Persephone) Krios- A Titan known as the Ram Kronus- Father of the Gods. Kybele- Goddess of mountains and wild animals.
None. It was thought that the Greeks adopted the alphabet and the color named 'tyrian purple'. The reverse is actually the case as the Phoenicians did not have an alphabet they had a cuneiform script lacking any vowels. The Greek proper alphabet of linear A and linear B both predate phoenician cuneiform script. The archaeological findings in Crete at Komos has unearthed murex shells (used to make 'Tyrian purple', which show that the Minoans cultivated the sea-snail in factory farms for the production of the purple dye at least 300 years before it appeared in Tyre. The Phoenicians did however become strong traders using the ships and celestial navigation adopted from the Greeks.
The closest word in the KJV is the word REVELLINGS. It is found three times in the NT - Romans 13:13 (rioting), Galatians 5:21 (revellings) and in 1 Peter 4:3 (revellings). The Greek word is KOMOS. It speaks of carousal, a nocturnal and riotous procession of half drunken and frolicsome fellows who after supper parade through the streets with torches and music in honour of Bacchus or some other deity, and sing and play before houses of male and female friends; hence used generally of feasts and drinking parties that are protracted till late at night and indulge in revelry (Thayer). The root word comes from the idea of "to lie down." These were riotous drinking parties. In all three uses, it speaks of what a BELIEVER USED TO DO, or a work of the flesh (which a believer is not to be doing).
GodsAresApolloAchelousAristaeusAstraeusAsclepiusGoddessesAphroditeArtemisAthenaAcheloisAmphitriteAntheiaAphaea
This is another tough one to answer quickly. In Greek, the letter K is "Kappa" - the hard K sound. In Latin, there was no "K". They used the letter "C" for this sound. For some reason, as Latin changed, the hard "K" was replaced with the soft "S" sound. As an example, we pronounce Cicero as "SIS-er-oh" when in fact, it was "KIK-er-oh". So, most of the Greek mythological names have been "Latinized", so that the Romans would understand their meaning. Whenever there was a "K", it usually becomes a "C" when Latinized (unless it starts with CH, which is actually the letter Chi or "X"). Those names that start with K were ones not observed by the Romans. As an example, Cronus was actually Kronos. Here are the ones I know: Coeus (Κοῖος - Koios), Crius (Κρεῖος - Kreios), Clymene (Κλυμένη - Klemene), Cottus (Κόττος - Kottos), Caerus (Καιρός - Kairos), Corus (Κόρος - Koros), Kakia (Kακία), Kalokagathia (Καλοκαγαθία), The Keres (Κῆρες), Koalemos (Κοάλεμος), Kratos (Κράτος), Kydoimos (Κυδοιμός), Clotho (Κλωθώ - Klotho), Cerberus (Κέρβερος - Kerberos), Keuthonymos (Κευθόνυμος), Kokytos (Kωκυτός), Ceto (Κῆτώ - Keto), Cymopoleia (Κυμοπόλεια - Kymopoleia), Karkinos (Καρκίνος), Celaeno (Κελαινώ - Kelaino), Cabeiri (Κάβειροι - Kabeiroi), The Cercopes (Κέρκοπες - Kerkopes), Comus (Κόμος - Komos), Corymbus (Κόρυμβος - Korymbos), The Curetes (Κουρέτες - Kouretes), Cybele (Κυβέλη - Kybele), Cladeus (Κλάδεος - Kladeos), Cocytus (Kωκυτός - Kokytos), and of course, the Cyclopes (Κύκλωπες - Kyklopes)
ypes of literatureGENERAL TYPES OF LITERATUREPROSEConsists of those written within the common flow of conversation in sentence and paragraphs.· NOVELThis is long narrative divided into chapters. The events are taken from to life stories…and spam long period of time.· SHORT STORYA narrative involving one or more characters, one plot and one single impression.· PLAYSThis is presented on stage, is divided into acts and has many scenes.· LEGENDSThese are fictitious narratives, usually about origins.· FABLESThese are also fictitious, they deal animals and imitate things that speak and act like people, and their purpose is to enlighten the minds of children to events that can mold their ways and attitudes.· ANECDOTESA merely product of the writer's imagination and the main aim is to bring out lessons to the readers and attitudes.· ESSAYThis is expresses the viewpoint of the writer about a particular problem or event.· BIOGRAPHYDeals with the life of a person, which may be about himself, his autobiography or that of others.· NEWSReport of everyday events in society, government, science and industry and accidents, happening nationally or not.· ORATIONA formal treatment of a subject and is intended to be spoken in public. It appeals to the intellect, to the will or to the emotions of the audience.POETRYRefers to those expressions in verse, with measure and rhyme, line and stanza and has a more melodious tone.· Narrative poetry describes important events in life real or imaginary.· Lyric poetry refers to that king of poetry meant to be song to the accompaniment of a lyre, but now this applies to any type of poetry that expresses emotions and fillings of the poet.· DramaticNARRATIVE POETRYA.1 EPICAn extended narrative about heroic exploits often under supernatural control. It may deal with heroes and gods.A.2 METRICAL TALENarrative, which is written in verse and can be classified either as a ballad or as a metrical romance. Ex. Bayani ng BukidA.3 BALADSOf the narrative poems, this is the shortest and simplest. It has a simple structure and tells of a single incident.LRYRIC POETRYB.1 FOLKSONGS (AWIT NG BAYAN)These are short poems intended to be sung. The common theme is love, despair, grief, doubt, joy, hope and sorrow.B.2 SONNETSa lyric poem of 14 lines dealing with an emotion, a feeling of an idea.B.3 ELEGYThis is a lyric poem, which express feelings of grief and melancholy and whose themr is death.B.4 ODEA poem of noble feeling, expressed with dignity, with no definite syllables or definite number of lines in a stanza.B.5 PSALM (DALIT)A sound praising god or the Virgin Mary and containing a philosophy of life.B.6 AWIT (SONG)Measures of a 12 (do decasyllabic) and slowly sung to the accompaniment of a guitar or Banduria. Ex. Florante at LauraB.7 CORRIDOHave measure of eight (octosyllabic) and recited to a martial beat.DRAMATICC.1 COMEDYComes from the greek "komos" meaning festivity or revelry. This is usually light and written with the purpose of amusing, and usually has a happy ending.C.2 MELODRAMAUsually used in musical plays with opera. It arouses immediate and intense emotions and is usually sad but there is a happy ending for the principal character.C.3 TRAGEDYInvolves the hero struggling mightily against dynamic forces; he meets death or ruin without success and satisfaction obtained by the protagonist in a comedy.C.4 FARCEExaggerated comedy, situations are too ridiculous to be true; and the characters seem to be caricatures and the motives undignified and absurd.
Elements of Drama - A Brief Introduction1. Plot - the sequence of events or incidents of which the story is composed.A. Conflict is a clash of actions, ideas, desires or wills.a. person against person.b. person against environment - external force, physical nature, society, or "fate."c. person against herself/himself - conflict with some element in her/his own nature; maybe physical, mental, emotional, or moral.B. Protagonist and Antagonist - the protagonist is the central character, sympathetic or unsympathetic. The forces working against her/him, whether persons, things, conventions of society, or traits of their own character, are the antagonists.C. Artistic Unity - essential to a good plot; nothing irrelevant; good arrangement.D. Plot Manipulation - a good plot should not have any unjustified or unexpected turns or twists; no false leads; no deliberate and misleading information.2. CharacterA. Direct Presentation - author tells us straight out, by exposition or analysis, or through another character.B. Indirect Presentation - author shows us the character in action; the reader infers what a character is like from what she/he thinks, or says, or does. These are also called dramatized characters and they are generally consistent (in behaviour), motivated (convincing), and plausible (lifelike).C. Character Types - a Flat character is known by one or two traits; a Round character is complex and many-sided; a Stock character is a stereotyped character (a mad scientist, the absent-minded professor, the cruel mother-in-law); a Static character remains the same from the beginning of the plot to the end; and a Dynamic (developing) character undergoes permanent change. This change must be a. within the possibilities of the character; b. sufficiently motivated; and c. allowed sufficient time for change.Theme - the controlling idea or central insight. It can be 1. a revelation of human character; 2. may be stated briefly or at great length; and 3. a theme is not the "moral" of the story.A. A theme must be expressible in the form of a statement - not "motherhood" but "Motherhood sometimes has more frustration than reward."B. A theme must be stated as a generalization about life; names of characters or specific situations in the plot are not to be used when stating a theme.C. A theme must not be a generalization larger than is justified by the terms of the story.D. A theme is the central and unifying concept of the story. It must adhere to the following requirements: 1. It must account for all the major details of the story. 2. It must not be contradicted by any detail of the story. 3. It must not rely on supposed facts - facts not actually stated or clearly implied by the story.E. There is no one way of stating the theme of a story.F. Any statement that reduces a theme to some familiar saying, aphorism, or cliché should be avoided. Do not use "A stitch in time saves nine," "You can't judge a book by its cover, " "Fish and guests smell in three days," and so on.4. Points Of ViewA. Omniscient - a story told by the author, using the third person; her/his knowledge, control, and prerogatives are unlimited; authorial subjectivity.B. Limited Omniscient - a story in which the author associates with a major or minor character; this character serves as the author's spokesperson or mouthpiece.C. First Person - the author identifies with or disappears in a major or minor character; the story is told using the first person "I".D. Objective or Dramatic - the opposite of the omniscient; displays authorial objectivity; compared a roving sound camera. Very little of the past or the future is given; the story is set in the present.5. Symbol - a literary symbol means more than what it is. It has layers of meanings. Whereas an image has one meaning, a symbol has many.A. Names used as symbols. B. Use of objects as symbols. C. Use of actions as symbols.Note: The ability to recognize and interpret symbols requires experience in literary readings, perception, and tact. It is easy to "run wild" with symbols - to find symbols everywhere. The ability to interpret symbols is essential to the full understanding and enjoyment of literature. Given below are helpful suggestions for identifying literary symbols:1. The story itself must furnish a clue that a detail is to be taken symbolically - symbols nearly always signal their existence by emphasis, repetition, or position. 2. The meaning of a literary symbol must be established and supported by the entire context of the story. A symbol has its meaning inside not outside a story. 3. To be called a symbol, an item must suggest a meaning different in kind from its literal meaning. 4. A symbol has a cluster of meanings.6. Irony - a term with a range of meanings, all of them involving some sort of discrepancy or incongruity. It should not be confused with sarcasm which is simply language designed to cause pain. Irony is used to suggest the difference between appearance and reality, between expectation and fulfillment, the complexity of experience, to furnish indirectly an evaluation of the author's material, and at the same time to achieve compression.A. Verbal irony - the opposite is said from what is intended.B. Dramatic irony - the contrast between what a character says and what the reader knows to true.C. Irony of situation - discrepancy between appearance and reality, or between expectation and fulfillment, or between what is and what would seem appropriate.Drama has one characteristic peculiar to itself - it is written primarily to be performed, not read. It is a presentation of action a. through actors(the impact is direct and immediate), b. on a stage (a captive audience), and c. before an audience (suggesting a communal experience). Of the four major points of view, the dramatist is limited to only one - the objective or dramatic. The playwright cannot directly comment on the action or the character and cannot directly enter the minds of characters and tell us what is going on there. But there are ways to get around this limitation through the use of 1. soliloquy (a character speaking directly to the audience), 2. chorus ( a group on stage commenting on characters and actions), and 3. one character commenting on another.TragedyAristotle's definition of tragedy: A tragedy is the imitation in dramatic form of an action that is serious and complete, with incidents arousing pity and fear wherewith it effects a catharsis of such emotions. The language used is pleasurable and throughout appropriate to the situation in which it is used. The chief characters are noble personages ("better than ourselves," says Aristotle) and the actions they perform are noble actions.Central features of the Aristotelian archetype:1. The tragic hero is a character of noble stature and has greatness. If the hero's fall is to arouse in us the emotions of pity and fear, it must be a fall from a great height.2. Though the tragic hero is pre-eminently great, he/she is not perfect. Tragic flaw, hubris (excessive pride or passion), and hamartia (some error) lead to the hero's downfall.3. The hero's downfall, therefore, is partially her/his own fault, the result of one's own free choice, not the result of pure accident or villainy, or some overriding malignant fate.4. Nevertheless, the hero's misfortune is not wholly deserved. The punishment exceeds the crime. The hero remains admirable.5. Yet the tragic fall is not pure loss - though it may result in the hero's death, before it, there is some increase in awareness, some gain in self-knowledge or, as Aristotle puts it, some "discovery."6. Though it arouses solemn emotion - pity and fear, says Aristotle, but compassion and awe might be better terms - tragedy, when well performed, does not leave its audience in a state of depression. It produces a catharsisor an emotional release at the end, one shared as a common experience by the audience.Comedy, Northrop Frye has said, lies between satire and romance. Is the comic mask laughing or smiling? We usually laugh at someone, but smilewith someone. Laughter expresses recognition of some absurdity in human behavior; smile expresses pleasure in one's company or good fortune. The essential difference between tragedy and comedy is in the depiction of human nature: tragedy shows greatness in human nature and human freedom whereas comedy shows human weakness and human limitation. The norms of comedy are primarily social; the protagonist is always in a group or emphasizes commonness. A tragic hero possesses overpowering individuality - so that the play is often named after her/him (Antigone, Othello); the comic protagonist tends to be a type and the play is often named for the type (The Misanthrope, The Alchemist, The Brute). Comic plots do not exhibit the high degree of organic unity as tragic plots do. Plausibility is not usually the central characteristic (cause-effect progression) but coincidences, improbable disguises, mistaken identities make up the plot. The purpose of comedy is to make us laugh and at the same time, help to illuminate human nature and human weaknesses. Conventionally comedies have a happy ending. Accidental discovery, act of divine intervention (deus ex machina), sudden reform are common comedic devises. "Comedy is the thinking person's response to experience; tragedy records the reactions of the person with feeling." - Charles B. HandsMelodrama - arouses pity and fear through cruder means. Good and evil are clearly depicted in white and black motifs. Plot is emphasized over character development.Farce - aimed at arousing explosive laughter using crude means. Conflicts are violent, practical jokes are common, and the wit is coarse. Psychologically farce may boost the reader's spirit and purge hostility and aggression.Leave a CommentTypes of Drama / Plays: ComedyFiled under: Types of Drama / Plays: Comedy - reniermedia @ 6:36 pm Types of Drama / Plays:Comedy"Komos" - Greek - revelry at end of comedies based on some deviation from normality in action, character, thought, or speech "in fun" (tho' can still have serious purpose)Henri Bergson (1917) "On Laughter." - "anesthesia of the heart" -audiences view objectively - the banana peel fall is funny, as long as it is not us and if not hurt (cartoons).Aristotle's book of comedy, if there was one ever, is not extant. In tragedy, people are better than they really are; in comedy, people are worse that they really are.Often: if a happy ending, therefore a comedy. A kind of catharsis through laughter and amusement - helps remind us of our frailties and helps keep us sane.Wilson, p. 200 - Characteristics of comedy - a way of looking at the world in which basic values are asserted but natural laws suspended - to underscore human follies and foolishness - sometimes wry, rueful, hilarious.suspension of natural lawscontrast between social order and individualcomic premise:the idea or concept that turns the accepted notion of things upside down and makes it the basis of the play - provides structural and thematic unity and can be a springboard for comic dialog, characters, and situations.involves exaggeration and incongruity and contradictions-Incongruity - illogical, out of place surprise.{Top of Page}Comic techniquesverbal humorpunsmalapropisms-LINK to malaprop page or here-misusing wrong words in such a way that they sound similar but usually are strikingly different from the word intended.The Rugrats, for example, use a number of malapropisms: Angelica said once that there was a "whole world to deplore" out there (the best are like this-the word sounds similar but means something strikingly different).Justin Wilson, the "cajun cook," was famous for his malapropisms: he called himself "a half-bleed cajun" who "granulated high school."(Wilson, pp. 204-205, has some nice examples).epigrams (or go here)Characterizationsincongruity between the way characters see themselves or pretend to be, as opposed to the way they really arelot complications - especially in farcecoincidences -mistaken identities -Comedy of Errors, The School for ScandalShakespeare - uses comedy in tragedy and tragedy in comedy and different kinds of comedies -difficult to categorize.{Top of Page}Kinds of Comedy: "High" and "Low"1. Farce: often considered a separate form (Plautus, Charley's Aunt).often considered to be "low comedy" (versus "high comedy").physical comedy : "slapstick" - physical action provokes the thought.Very high incongruity (surprise, something out of place or unexpected).Comedy of situation, but extreme incongruity - buffoonery, accidents, mistaken identities, ludicrous situations.[H., P., &L: "the average human being as an undeserving, universal victim of circumstance..."]Often stylized: "aside" "take" `"mugging"2. Burlesques- lampooning other works of art, including theatre pieces.3. Satire - ridicule of public institutions and figures.4. Domestic Comedy -home and hearth.5. Comedy of Manners / Wit: similar to character and situation aristocratic and witty characters .6. Comedy of IdeasAdditional forms not mentioned in Wilson:a. Comedy of situation:character and ideas are minor hidden identities, discoveries, reversals, etc. similar to farce, but less unrealisticb. Comedy of character: eccentricities of the protagonist (Moliere)c. Romantic comedy struggles of love, sympathetic characters, ludicrous devices lovers use (Sh. Midsummer, 12th Night)Restoration Drama (School for Scandal)Concept or thought is essential.Shaw (prostitution, English class system), Aristophanes (Birds, Lysistrata)