Academic literature on the topic 'Megara (Poem)'

Character is the values of human behavior associated with God Almighty, self, fellow human, environment, and nationality embodied in thoughts, attitudes, feelings, words, and deeds based on religious norms, law, etiquette, culture, and customs. Character education, according to Thomas Lickona (1991), is the education to shape the personality of a person through character education, whose results that can be seen in the actual actions of a person that are considered good, honest, responsible, respectful of the rights of others, hard work, and others. Building the character of children can be done through a traditional Balinese game called megala-galaan. This game is often played with accompaniment of singing Goak Maling Taluh. The poem Goak Maling Taluh sound simple with rhythm or easy rhythm, and the author was still anonymous until now. Behind the simplicity of his poetry hides a deep philosophical meaning about the nature of karma phala. The megala-galaan game with the singing Goak Maling Taluh implementation of fun learning concepts, a traditional Balinese educational concept that emphasizes aspects of learning while playing, and playing while learning.

A swell of recent books on Greek athletics has resurrected, often no higher than a footnote, an old question: when did Greek athletes begin to exercise nude? Bronze Age archaeology and the Homeric poems make it fairly certain that athletic nudity was not practiced before the late eighth century. The evidence for its introduction is, however, contradictory. A complex, confused, and predominantly late tradition crediting the innovation variously to the Olympic victor Orsippos of Megara (or of Sparta), Akanthos of Sparta, or to an unnamed Athenian athlete, places it in the eighth or seventh centuries. But both Thucydides and Plato report that it was only shortly before their time that Greeks stopped wearing the zoma and began to compete nude.

Os discursos políticos e midiáticos contemporâneos acerca da percepção e da interação do ser humano com o meio ambiente apresentam conotações pouco claras sobre a preocupação com a sustentabilidade e com a manutenção da saúde do planeta. Diante dessa percepção e considerando que o homem só apreende a natureza por meio do símbolo, o objetivo dessa pesquisa é investigar como os aspectos simbólicos e míticos são mobilizados para construir os discursos recorrentes acerca da Amazônia. Analisaremos o discurso proferido por Bolsonaro na Assembleia-Geral da ONU, em setembro de 2019. A análise, fundamentada na mitocrítica (Gilbert Durand), aponta para o mito diretor de Maha-Maya ou Maya, a Deusa da Ilusão, no hinduísmo. O véu da ilusão perpassa o discurso do presidente brasileiro naquilo que diz respeito ao novo e ao ressurgimento do Brasil. No entanto, é preciso considerar que o ressurgimento traz um sentido de morte, desvelando o Deus Antaka – Yama -, o Deus da morte. O discurso do presidente vem permeado de um desejo de destruição para implementar um sonho pessoal, distante dos anseios da maioria da nação, desvelando as Erínias, o terceiro grupo das Deusas Cinzentas (além das Moiras e das Gréias), de nomes Aleto (a que nunca acaba), Tisífone (retaliação) e Megera (raiva); deusas que podem ser invocadas pelo nome de Erinis (espírito de cólera e de vingança); é possível dizer que na fala presidencial, em seu discurso proferido na ONU, ou nas suas apresentações cotidianas, inclusive no seu Twitter, há o sentido de vingança, retaliação e raiva.

Plato's Gorgias might as well have been named On Shame. The word appears sixty-nine times in the course of the dialogue with a lion's share of references to shame being made by Socrates’ character. Callicles comes in second in his use of the term. Cairns notes that in the corpus of the lyric poet Theognis of Megara (sixth century BC) we have ‘the first instance of the noun aischunē.’ Cairns goes on to comment on Theognis’ use of αἰσχύνη and says that ‘[h]ere it appears in the objective sense, but later it will also be found in a subjective sense, as the reaction to or mental picture of disgrace and so as equivalent of aidōs.’ Although it is important to differentiate αἰσχύνη and αἰδώς, the terms, as Cairns suggests, are capable of expressing interchangeable meanings. Hence, in our comparative study of shame in the Gorgias and in the Clouds, we pay close attention to and examine the context in which a given term appears. The central role that shame plays in the Gorgias is the subject matter of analyses by Race, Bensen Cain, McKim, and Dodds. Race is confident that ‘of all the motifs running through the work, the most insistent is that of shame, for the word aischyne (along with verbal forms of aischynomai and the adjective aischros) occurs over 75 times.’ In line with the view that shame is central in the Gorgias, we offer a further contribution, which focuses on the affinity between the treatment of shame in that dialogue and in Aristophanes’ Clouds. We argue that either the ostensible subject of the Gorgias, which is usually identified as rhetoric, is not the dialogue's true concern or the explicit subject matter cannot be understood without its accompanying element, which is shame. To support this thesis, we undertake a comparative analysis of the thematic, heuristic, and conceptual use of shame in the Gorgias in view of Aristophanes’ play. We argue that the characters in the Clouds portray the same perennial attitudes to life as do the interlocutors in the Gorgias and, what is more, the characters in both works evoke with more than incidental clarity certain historical figures (Alcibiades and Pericles). Thus, both works, as we claim, are commenting on and, even though the Clouds is a comedy, serve as the ground for our philosophical reflection on the political, educational, and cultural ideals of ancient Greece. Moreover, the Clouds makes light of, instead of endorsing, such distinctions as shameful/laudable, natural/conventional, old/new, education/didacticism, and moral/prudish. We draw on the humor of the Clouds, which allows us to withhold immediate judgment about these dichotomies in order to then examine these same notions which are problematized in the Gorgias.

Neste artigo, propomos proceder à correlação de teorias do ensino de literatura e dos multiletramentos, a partir de atividades em torno de uma obra teatral. Contextualizamos este estudo no bojo das discussões que analisam e que justificam a presença do livro na escola. A partir deste preâmbulo, buscamos embasamento teórico voltado ao letramento literário, à concepção de texto dramático e à multimodalidade. Metodologicamente, apresentamos a produção de uma sequência de ensino da leitura do texto A megera domada, de William Shakespeare, para o ano final do ensino fundamental. Os resultados apontam para a importância de procedermos a reflexões em torno do ensino de literatura, especificamente, da obra de teatro, sob uma perspectiva de leitura integral e multimodal, tendo em vista que estas podem promover a ampliação dos saberes e das competências aí implicadas.

Abstract The chapter examines the use of the dialogue in a variety of intellectual environments other than the Academy and Peripatos. It discusses the dialogue in the Minor Socratic schools of the Megarians and Cyrenaics, in particular its use by Stilpo of Megara and Hegesias of Cyrene. Next sections are dedicated to the three major Hellenistic traditions—the Cynics, Stoics, and Epicureans—and trace their employment of dialogue (for instance, representation of mentors and colleagues in conversation, parodic dialogues, and incorporation of dialogized passages into paraenetic discourse). The dialogue format was also used by Timon of Phlius who had his teacher Pyrrho explain his skeptical philosophy and refute dogmatic philosophers and by the renowned Hellenistic scholar, poet, and polymath Eratosthenes of Cyrene. The last two sections are devoted to early imperial period dialogues by Philo of Alexandria and the Tablet of Cebes.

Going on pilgrimage is a vivid tradition in India and its masterpiece, the Kumbh Mela, is probably the biggest mega-event of its kind in the world. The identification of holy places at established places of pilgrimage is an ongoing process even in our times, contributing to the diffusion-mechanisms of certain pilgrimages. In contradiction to this, the criticism of the institution of pilgrimage has formed an important stream for centuries. The monistic tradition in Hinduism has produced many popular poems that question the reward of religious journeying and ritual bathing at holy places, or that transform pilgrimage into a metaphor for inner journeys towards liberation.