古希腊罗马神话赏析论文

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《古希腊神话论文》

《希腊神话》课程论文专业：************ 学号：******** 姓名：***古希腊神话摘要：古希腊神话是古希腊人民最初意识的成果，智慧的结晶。

反映了他们对自然和社会的认识，是他们精神的体现，更是西方文明乃至世界文明的重要组成部分。

古希腊文学是欧洲文学的真正开端，是西方文学的最早源头，是整个人类文化的最原始状态，其艺术也是西方艺术的起源，希腊神话在西方发展历史上具有举足轻重的作用。

关键词：希腊神话起源精神影响一：简介希腊神话是古希腊人最初的意识活动的成果，是古希腊人关于神的故事英雄传说的总汇，它艺术地概括了他们自然和社会的认识，集中了他们的经验和理想，也表达了他们对社会不平现象的义愤，正如马克思所说：希腊神话是：“通过人民的幻想用一种不自觉的艺术方式加工过的自然和社会形式本身。

”它起源于原始社会的口头文学，当时希腊各部落都有自己的神和英雄的故事，这些故事世代相传，以口头的形式在各部落流传了几百年，后来随着各地区之间交往的日渐频繁和紧密，众多的、零星的神话构成了极为复杂的神话系统，并为《荷马史诗》、赫希俄德的《神谱》以及古典时期的文学、历史和哲学著作所吸收，逐渐成为全希腊共同的精神财富。

古希腊神话主要由神的故事和英雄传说两大部分组成，神是整个庞大思想体系的支点。

神的故事主要包括开天辟地、神的产生、神的谱系、天上的改朝换代、人类的起源和神的日常活动等故事，其中又分前奥林匹斯神系和奥林匹斯神系两大阶段。

二：体现的精神人文精神：古希腊地处爱琴海独特的自然环境中，这与其后来文化体系的形成和发展密不可分。

在爱琴海上，大约有1000个岛屿星罗棋布，水手们永远不会看不到陆地，人们从海上返航大陆不过几个小时，这一特点造就了希腊人的世界主义情怀。

古希腊的商业形式和城邦的政治体制促进了希腊公民的能力发挥，个人的作用和价值得到完美体现，使得人性得到高度尊重，也导致人文主义在古希腊文明中有了生长的土壤。

另一方面，古代希腊人神共处的泛神主义宗教也是人文精神得以发展的重要因素。

读神话学英语,就是与古希腊罗马神话有关的论文,三千字

读神话学英语,就是与古希腊罗马神话有关的论文,三千字篇一：Review of Ancient Greek myths of Rome《古希腊罗马神话》读后感Review of Ancient Greek myths of RomeAncient Greek myths of Rome has handed down for about more than three thousand years. Brilliant and grand scenes, vivid and distinct personalities, exquisite plot, so it was overwhelmed by all over the world readers. The Greek myth story is the same as the Bible that has a comprehensive influence to the whole human religious, philosophy, thoughts, customs, natural science, literature and art. When we contact with the western culture, we will meet some literary quotation that almost comes from the Greek myth story, and almost all the classical western literary can find the plot or characters that involved or directly originated from Greek mythology. Just as the Bible we need understand, we also should know the myth stories. That not just a literary works, also a production of culture of that time and an exhibition of the social surroundings and problems of the current western countries What impressed me most is Trojan War.The whole story is very touching, shocked the soul, the story of the choice of characters and plot changes compared to very obvious.First：love: Paris is a handsome, rich and romantic prince, he hasbeen living in the shelter of his brother and father, happy and affectionate live, he had a lot of love, his romantic at the same time, but not the real love, when he met Helen, he was an instant love is so deep, he and Helen decided to run away when the great power of the derivative of that kind of love, let a queen to elope to another country, this is the cause of the two countries of the war. Love is love, love in front of all obstacles is free, this is the greatness of love.Second, family: Hector is the prince of Troy, Pariss brother, he in that Helen also with the ship back to Troy, determined to take back the Helen and Paris also said, Helen back. He would go back to Greece. Hector ears love his brother, do not want him to lose his life, so Hector ear in the war and family, the choice of family. The old king was informed of this situation, also chose thefamily. They all know that war is inevitable, and that is the war in two countries. Third, tolerance: hen Paris is willing to own and Mainilaosi (Helens husband) showdown. He knew himself no match for each other, but still decided to duel, but when his sword was thrown on the ground, he showed a weak and climb back to their positions,he and Helens dialogue, saying he is a coward, Helen is to he said: I want a man, can accompany me to the old, and not a warrior.篇二：古希腊罗马神话传奇选修课论文题目古希腊罗马神话传奇选修课论文题目A1. 论古希腊神话所反映的希腊早期社会形态2. 论中国古代神话与古希腊神话比较讨论3. 古希腊神话对西方文化影响之源4. 古希腊神话中的悲剧美与崇高美5. 古希腊神话中女神的人性漫议6. 古希腊神话中的悲剧美学特征——以《俄狄浦斯王》为例7. 古希腊神话对西方文学的影响8. 从探究抗争精神看古希腊神话对西方文学的影响——以普罗米修斯为例9. 从希腊神话看女性意识的萌动和进展10. 古希腊神话对英国语言文学的影响11. “金苹果”的诱惑——古希腊神话人本主义精神思索12. 古希腊神话与土地占有权13. 尼采的悲剧精神与古希腊神话14. 古希腊神话传奇之蕴与奥林匹克竞技会之源15. 荷马史诗英雄观与英雄形象探析16. 古希腊建筑的审美特征17. 古希腊音乐文化的历史地位和现实影响18. 论古希腊美学精神及其影响/ 古希腊美学中的整体观念探原19. 论古希腊哲学诞生的社会基础——城邦文明20. 古希腊神话与古希腊哲学关系析论/ 古希腊哲学对希腊神话的回溯与反省B1. 浅析古希腊神话中的城邦文明2. 古希腊神话与人本思想3. 英美诗歌的文化渊源——古希腊神话4. 中国神话和古希腊神话的异同及其成因5. 古希腊神话与《圣经》对西方文学影响异同论6. 古希腊罗马神话与欧洲社会历史观7. 从古希腊罗马神话看希腊女性社会地位的变迁8. 古希腊神话中的叛逆女性辨析9. 论古希腊建筑之美10. 古希腊音乐理念对西方音乐艺术的影响11. 古希腊时代特征与美学思想12. 现代奥运文化与古希腊神话的内在联系13. 宗教与古希腊社会14. 《诗经》和荷马史诗——谈谈文学的民族共性15. 荷马史诗中英雄形象的人本主义解读16. 中国儒道美学与古希腊美学17. 宗教神话与古希腊哲学的产生18. 古希腊神话中的父权思想19. 航海活动对古希腊社会转型的影响20. 古希腊的酒神文化传统篇三：古希腊罗马神话论文Greek and Roman Mythology--Zeus and HeraIntroduction: Zeus and Hera were both immortals in Greek and Roman Mythology. As we may know, Hera was Zeus?s elder sister,and they fathered by Cronus and mothered by Rhea. However, how did Hera become Zeus?s formal wife afterwards, and how was their relation? what?s more, what did this phenomenon reflect? The following are the analyzes.Part I General Situation about Zeus and HeraZeus was raised by a goat-nymph named Altheimer which produced ambrosia in a cave in Crete. The bees brought him honey and an eagle would bring him nectar. And he grew into manhood in less than one year. After Zeus grew up, Cronus was overthrown by Zeus in Titanomachy.Hera,the eldest daughter of Cronus and Rhea,was born at Samos,or according to some accounts,at Argos.She was the elder sister of Zeus.Part II the Relation Between Zeus and HeraHera was so charmful that Zeus fell in love her.However,Hera resisted the attention of Zeus as he had so many love affairs with other immortals and mortals,Zeus was vain and unused to being turned down and tricked her by changing himself into a poorly Cuckoo.Hera ?s nurturing instincts were triggered and she took the Cuckoo to her breast to keep it warm.Zeus then changed back into a God and raped her causing theGoddess so much shame that she agreed to marry him.Hera was often very jealous about Zeus?s love affairs and took revenge on those rivals and their offspring,such as her hatred of Heracles.Part III What can we learn?Whether Zeus or Hera,they are barely part of the Greek and Roman Mythology.Divinities in in are resembled to humans on the earth.They have body beauty,stand sorts of feelings and they can understand the joys and sorrows.The only difference between divinity and mortal is the former is immortal while the latter of a day.In my opinion ,there is no love between Zeus and Hera.What concatenate then is lust and marriage form.After their marriage,Zeus has many illegal love affairs.This is the symbol of the patriarchy.Though Hera is furious about this,she is legal to Zeus throughout.This is similar to our wifely submission and virtue in ancient China. Ancient Greek and Roman mythology is gradually formed in the long historical period, say the ancient Greek myth is the origin of the western literature, almost all future generations of writers had to absorb nutrients from the ancient mythology. They become the many literary artists creation material; At the same time, they also exerts a subtle influence on the European literature style (such as a romantic).Conclusion:Just an article is not enough to show the charm of ancient Greek and Roman mythology and connotation. In the process of readingthese stories, I always feel in the hall of ancient Greek and Roman mythology mythology is not only a literary one bright pearl. It is a green island, in the Aegean sea here, Europa leisurely turn from the bulls back awake; Here, many of the people of god grows in the cradle of the Aegean sea, set sail from the harbor to unknown adventure journey, to search natural, find myself. Works Cited【1】E.M.Berens：Greek and Roman Mythology.Shanghai Road Guangzhong88.Shanghai.2023.5，Print;【2】[德国]古斯塔夫.施瓦布/著.赵燮生艾英/译.长江文艺出版社.恒美印务（广州）有限公司.2023.1印【3】Yang Guangxun.“Zeus and Here”.文化译丛.time 04.1983【4】余祖政.古希腊神话故事.国际文化出版公司.北京外文印刷厂.2023.2印。

古希腊罗马神话论文

古希腊罗马神话之阿喀琉斯阿喀琉斯，古希腊罗马神话里的英雄，特洛伊战争中最勇猛的战士，他多变，暴怒，勇猛，凶残，他符合一个古希腊伟大战士所具有的一切特征，好战，健硕，剑术高明，他是一个英雄，也是一个好战分子。

阿喀琉斯不受任何人控制，他骨子里有一种不安分的好战因素，同时阿喀琉斯是古希腊罗马神话中少有的能有着自己性子来的人，即使俯视人类的希腊众神和勇猛与智慧并存的奥德修斯也不能，从某种角度说，他可以是任性的，在特洛伊战争中，因为自己心爱的布里塞伊斯被阿伽门农掠夺，便不顾希腊的战局，极力退出战争，甚至奥德修斯也说，没有人能够像阿喀琉斯一样，不顾一切的去做任何事，即使奥德修斯自己也不能，是人都有弱点，都要被牵制，不得不不服从于比自己更强大的人。

阿喀琉斯何以如此自如的凭着自己的意愿而行动，根本原因就是阿喀琉斯是最强大的，最勇猛的战士，勇士，这是毫无疑问的，他高超的剑术，以及对战争无比的热爱，很让人震撼，可以说，从古往今来过往的战士中，阿喀琉斯这样的战士并不是让后人最赏识的，最让人钦佩的，世人大都喜欢像奥德修斯这样的英雄，他有勇有谋，更能得到人的尊敬，但是我最喜欢的却是阿喀琉斯，他是少有的能坚持自我的人，他是最强大的战士，他是为战争而活着的人，他是一个天生的勇士，更重要的是，他是真实的，他是少有的，他是最有个性的伟大英雄。

阿喀琉斯是令人感到真实的英雄形象，完美的人是极少的，神不是，人亦不是，能在阿喀琉斯身上看到的便是有血有肉的人性，他可以为了最重视的朋友疯狂的报复，直到达到复仇的目的，他明确的知道参加特洛伊战争就会死亡，但却坚持参与战争，他在战场上勇猛无比，他不信奉神明，甚至敢对阿波罗的神庙进行破坏，他不从属于任何人，他不会违背自己而满足任何人的私欲，哪怕是强大的希腊王，阿伽门农，他的人生追求可以说是古希腊罗马人物中最简单的，他就是追求战士的精神，赢得战场上的胜利，成为一个伟大遗名千古的勇士。

他不为财富，不为权力，他也没有建立一个属于自己的王国，即使这对于他来说很简单，也正是因为他不在乎这些，所以他才少有牵绊，在这样一个追求权力，战争遍地的古希腊罗马神话史上，必然会有他的一席之位，也正是时势造英雄。

古希腊罗马神话论文

古希腊罗马神话论文最早以前，希腊神话和罗马神话是分开的。

希腊神话构建了一个多神系统，赞扬乐观、积极进取的精神，哲理性强，思想丰富；而罗马神话反映了罗马人的实用主义。

古罗马的“神话”不是故事，而是神与神以及神与人之间错综复杂的关系。

但是，在前215年——前168年罗马在征服了马其顿之后就控制了整个希腊。

罗马人在地中海一带取代了希腊人的统治。

继承了希腊人的成就，也吸收了希腊神话的形象和内容，并给予拉丁化。

因此后来，希腊和罗马神话往往合称为希腊罗马神话，而同一个神话人物常常有两个不同的名字，比如说，海神波塞冬（Poseidon）也叫涅普顿（Neptune）。

宙斯是众神之王，他贪图男欢女爱，可谓妻妾成群，天生人间都有他的私生子女。

他们形成了奥林匹斯神系的成员和半身人英雄。

奥林匹斯十二主神有象征天空和天气的宙斯（zeus），象征婚姻和家庭的天后赫拉(Hera)，象征海洋和风浪的海神波塞冬(Poseidon)，象征死亡和阴间的冥王哈迪斯（hades），象征爱与美的爱与美之神维纳斯(Venus)，象征战争和破坏的战神阿瑞斯(Ares)，象征智慧和学问的智慧女神雅典娜(Athene)，象征情报与商的偷窥之神赫耳墨斯(Hermes)，象征火和锻炼的火神赫淮斯托斯(Hephaestus)，象征太阳和音乐的光明之神阿波罗(Apollo)，象征狩猎和月亮的月亮女神阿耳忒弥斯（Artemis)，象征醉酒和演剧的酒神狄俄尼索斯(Dionysus)，象征谷物和丰饶的春神德墨忒尔(Demeter)，象征家事和厨房的贞洁之神维斯塔(Vesta)。

其中宙斯与堂妹、水神，聪慧女神墨提斯生了雅典娜；与姑母、正义和法律女神特密斯生了时序女神；与姐姐、谷物女神得墨忒耳生了冥后泊尔塞福涅；与姑母、记忆女神摩捏莫斯捏生了九个缪斯女神；与堂姐、海神欧律诺墨生了美惠三女神；与堂姐、暗夜女神勒特生了阿波罗和阿特密斯；与姐姐赫拉生了战神阿瑞斯、青春女神赫伯、匠神赫维斯托斯、埃勒提亚。

古希腊神话鉴赏论文

最初选修这门课的时候，是出于对古希腊神话的好奇，但真正接触到这门课的时候，让我坚持听课的动力确实，个人感觉老师的讲课风格太有魅力了！记忆犹新，老师在讲图腾与禁忌的时候内心里点燃的一把民族认同感的火。

但一听到图腾，好像回到了遥远的远古时期，黄河流域，那些同希腊人一样为我们黄河儿女留下灿烂文化的祖先们正在进行某种神秘的仪式，以祈祷风调雨顺来年丰收。

当然这些脑内小剧场与我们的课程并不相关。

但对比中国的神，以及古希腊的神，却有极大的不同。

首先，中国的神是真是的神，而古希腊的神，是人化的神灵。

中国人是完美无瑕的，没有缺点没有过错的，心胸开阔法力无边，而古希腊神话中却能包容神的一切缺点。

如宙斯是典型的花心丈夫，而赫拉则是充满妒意的女神，雅典娜是凶悍狡猾的女神等等。

每个神灵都有着自己人性的一面。

另一方面与中国的神不同的是，中国的神为人为民的，仁慈善良的，而古希腊的神，却可以因为一己的愤怒降祸人间。

如潘多拉之盒，几乎每个主神都助长了她的存在，任由她给人间带去无限的灾难与困苦，而这样的情况在中国的神话故事中，是不可能出现的。

再次，老师多次提到了阿喀琉斯，在老师播放的影片中多次体现阿喀琉斯的英雄主义。

他是特洛伊战争中最勇猛的战士，神话中提到，他生下来是，母亲就已预测到他的两条命运轨迹，一条是他将平安幸福的老去，另一条路是，他讲不屈于平凡成为伟大的战士名流千古，却将战死沙场。

于是她的母亲便将他倒提着脚后跟在冥河里浸泡，他身上唯一的弱点就是他的脚后跟，也就是传说中的“阿喀琉斯之踵”。

毫无疑问，在特洛伊战争中，真是由于这唯一的弱点，使得这位大英雄最终死于特洛伊王国最为懦弱的王子箭下。

阿喀琉斯给我一种人无完人的遗憾，电影版的特洛伊使阿喀琉斯的死变得唯美化了，神话中的阿喀琉斯绝不是一个爱情至上的人物。

对于阿喀琉斯而言，爱情绝不是最重要的，电影会考虑到商业的因素将特洛伊中的阿喀琉斯的爱情国度美化了。

阿喀琉斯是英雄，他一生都是伟大的战士，他是强大的，阿喀琉斯之踵预示着不管英雄还是平民，无论多强大，都是有弱点的。

古希腊罗马神话论文 (1)

古希腊罗马神话周六第一大节政法学院社会工作11-01 黄妙541109020111我们的英雄——普罗米修斯曾经去图书馆借过《希腊神话》回来看，那时候是本着对宙斯的一点点了解看的，后来没看完，因为觉得故事太离奇，无法理解。

直到选修了古希腊罗马神话这门课程，才重新燃起了我对希腊神话的兴趣，并且深深被故事里各种各样的大神所吸引。

在课上听老师讲故事是最有意思的，可以让因为早起而睡眼惺忪的我们顿时精神百倍。

对于希腊神话的人物，我钟爱普罗米修斯和雅典娜。

因为我认为普罗米修斯是我们人类的英雄，而雅典娜是我们的智慧女神，他们是典型的希腊神话人物代表。

不过，我最熟悉的还是普罗米修斯，这位我们伟大的英雄。

普罗米修斯，名字的意思是“先知”。

他是被宙斯放逐的古老的神苰族的后裔，是地母盖娅与天父乌拉诺斯所生的伊阿佩托斯的儿子。

同时，在西方文学中，普罗米修斯成为“伟大的殉难者”的同义词。

在课上，老师是先给我们展示了他的图片，才开始慢慢讲述他的故事，所以大家都听的津津有味吧。

我看到了下面一首诗歌:是谁？让漫漫黑夜跳跃希望的火苗？是谁？让蛮荒时代沐浴文明的曙光？是谁？甘愿触犯天条也要救人类于水火？是谁？深受酷刑却无怨无悔？啊！巨人，是你给人类带来火种。

送来光和热，送来人类新的纪元！尽管上天和你蓄意为敌――高山险峻，铁链加身。

烈日如火，暴雨如注――但沉重的铁链只能锁住你的身躯，却怎能锁住那颗坦荡无私的心！难道仅仅是物质的火种吗？不，你给予我们的是生生不息的精神火种！勇敢坚强博爱无私这就是你――普罗米修斯！他值得人类去这样赞美，值得人类歌颂和祭奠。

因为他给予人类的不仅仅是生命，还有更多的物质精神文明。

在希腊神话中，普罗米修斯与智慧女神雅典娜共同创造了人类，并教会了人类很多知识。

他也充当了人类的老师，凡是对人有用的，能够使人类满意和幸福的，他都教给他们。

同样的，人们也用爱和忠诚来感谢他，报答他。

但最高的天神宙斯却要求人类敬奉他，让人类必须拿出最好的东西献给他。

古希腊罗马神话艺术鉴赏论文

古希腊罗马神话艺术鉴赏题目：古希腊罗马神话与建筑古希腊罗马神话与建筑摘要：古代希腊、罗马时期，创造了一种以石制的梁柱作为基本构件的建筑形式，这种建筑形式经过文艺复兴及古典主义时期的进一步发展，一直延续到20世纪初，在世界上成为为一种具有历史传统的建筑体系，这就是通常所说的西方古典建筑。

关键词：古希腊古罗马神庙雅典氏族建筑柱式引言公元前8世纪，在巴尔干半岛、小亚细亚西岸以及爱琴海各岛屿上形成了许多奴隶制的小城邦国家，如雅典、斯巴达、科林斯、奥林匹亚等，它们统称为古代希腊。

古代希腊是欧洲文明的发源地。

作为希腊文化的一个组成部分，希腊的建筑艺术取得了重大的成就。

希腊人建筑了如神庙、剧场、竞技场等各种建筑物，在许多城邦中出现了规模壮观的公共活动广场和造型优美的建筑群组，他们是古希腊广大奴隶和自由民们劳动和智慧的光辉结晶。

正文古希腊的建筑艺术，则是欧洲建筑艺术的源泉与宝库。

古希腊建筑风格的特点主要是和谐、完美、崇高。

而古希腊的神庙建筑则是这些风格特点的集中体现者，古希腊的“柱式”，这种规范和风格的特点是，追求建筑的檐部（包括额枋、檐壁、檐口）及柱子（柱础、柱身、柱头）的严格和谐的比例和以人为尺度的造型格式。

古希腊最典型、最辉煌，也是意味最深长的柱式主要有三种，即陶立克、爱奥尼克和科林斯柱式。

陶立克的柱头是简单而刚挺的倒立圆锥台，柱身凹槽相交成锋利的棱角，没有柱础，雄壮的柱身从台面上拔地而起，柱子的收分和卷杀十分明显，力透着男性体态的刚劲雄健之美。

爱奥尼克，其外在形体修长、端丽，柱头则带婀娜潇洒的两个涡卷，尽展女性体态的清秀柔和之美。

科林斯的柱身与爱奥尼克相似，而柱头则更为华丽，形如倒钟，四周饰以锯齿状叶片，宛如满盛卷草的花篮。

从比例与规范来看，陶立克一般是柱高为底径的4--6倍，檐部高度约为整个柱子的1/4，而柱子之间的距离，一般为柱子直径的1.2--1.5倍，十分协调、规整而完美。

爱奥尼克，柱高一般为底径的9--10倍，檐部高度约为整个柱式的1/5，柱子之间的距离约为柱子直径的两倍，十分有序而和美。

古希腊罗马神话鉴赏论文

“命中注定”的弑父娶母悲剧？！——古希腊罗马神话鉴赏论文“悲剧就是将人生有价值的东西毁灭给人看的。

”比起悲剧，我相信大多人和我一样更乐于看见幸福的喜剧，然而悲剧之所以伟大，不是让我们为它的结局而流泪，而是使我们通过“悲”字去反思研究人生之意义与价值，说起悲剧，就不得不说到俄底浦斯王弑父娶母的故事，它一直被许多人看作是希腊悲剧故事的典范。

我对于古希腊神话故事的初步了解，来自于小时候看的一部动画片《奥林匹斯星传》。

也许当初的我会为俄底浦斯悲惨的结局而唏嘘不已，如今的我却被这个悲剧故事所展现的命运观折服；当初的我会觉得俄底浦斯就是一个可叹可悲之人罢了，如今我却觉得在这悲惨之余，他却是一个让我们所有人都尊敬佩服的英雄。

战功卓越的阿喀琉斯、足智多谋的奥德修斯、神勇无比的赫拉克勒斯等等都被人们看作是古希腊中的英雄人物，然而俄底浦斯何尝又不是一个英雄呢？或许他没有显著的战功，没有超群的智商，但是在他身上，所体现的却是另一种令人心折的英雄本色，那是一种摆脱命运桎梏、打破命运枷锁的不屈不饶、敢打敢拼的顽强意志！面对这命中注定的“弑父娶母”的神谕，他没有坐以待毙，等待命运的降临，而是尽自己所能，顽强反抗，可是我们又有多少人能够在面对这冥冥之中的宿命，如俄底浦斯一样凭借自己不屈不挠的意志去摆脱战胜它呢？真的猛士，敢于直面惨淡的人生，敢于直视淋漓的鲜血，俄底浦斯不正就是鲁迅这句话的真实写照么？他，当之无愧是真的猛士、真的英雄！人定胜天这个思想一直被我认为是真理，可是事实的真相是如此吗？顽强的反抗意志真的就能战胜命运的安排吗？底比斯国王拉伊俄斯从神谕得知自己会被儿子所杀，便刺穿儿子的脚踝将之抛弃荒野，他极力想摆脱神的诅咒，却没有想到这反而是走向深渊的开端，在我看来拉伊俄斯的做法实在愚蠢，将自己的儿子抛弃荒野，那么儿子可能就永远无法得知自己的亲身父母究竟是谁，极有可能认别人作父母，那么将来儿子弑父娶母的概率不是更大了吗？与其如此，那还不如将之养在身边，大抵是拉伊俄斯根本没有料想到儿子竟然能活下来，用电影大话西游中紫霞仙子的话来说“我猜中了开头却猜不到这结局”，这就是宿命的轨迹！长大后的俄底浦斯也得知了这神谕，为了避免神谕成真，便离开柯林斯到外出流浪，却在忒拜岔路口失手杀人，这其中就有他的亲身父亲，瞧，在这命运的十字路口前，他明明是想要掌控自己的命运，却在无意识间又跌入命运的漩涡，这真是吾命由天不由我了，一步错，步步错，那么接来下对他来说的将是万劫不复的泥淖，愈是挣脱，反而愈陷其中。

希腊罗马神话浅析

希腊罗马神话浅析
我们从古希腊神话的作品中关于神的肖像描写的内容和古希腊关于神的雕塑、绘画中可以分辨出希腊众神是人形化了的。

古希腊人崇拜神，但并不赋予神过高的崇高性，也不把神奉为道德衡量的标准，而是把神作为人的折射。

希腊诸神除了长生不死于神通广大之外，于人类没有多少区别。

纵览古希腊神话界多是赋予超能力但更富有人情味的的诸神。

古希腊诸神住在奥林匹斯山上，他们组织了一套家庭及社会生活的网络，他们像人一样思考行动，像人一样去恋爱、结婚、争风吃醋、养儿育女。

希腊神的情绪是普通人的喜怒哀乐。

所有这一切都表明希腊创造神话，就是在关注自己。

“神在古希腊人心中既不像罗马人心中那样表现为赤裸裸的法权关系和现实国家，也不像在基督教心中那样威严可怖和高不可及，也不像中国神话那种干瘪僵硬的道德偶像，而是呈现出一个亲切可爱更完善的人的形象，呈现一种
美得理想”。

希腊神话正是人的体验和社会的故事。

这正是一种人本精神的完全体现。

尊贵的天后赫拉同人间的女子一样，面对用情不专的丈夫宙斯，她嫉妒怨恨，一次次去针对宙斯的各个情人，了接丈夫的婚外情。

她把卡利斯特变成了熊，她迫使宙斯把伊奥变成了一头牛。

虽然是神，狄奥尼索斯却整天狂歌豪饮、浪迹天涯，他并不严肃而高贵。

达芙妮为拒接对自己穷追不舍地追求自己的太阳神阿波罗不得不变成了一棵桂树，表明一种被自己不喜欢的人喜欢的烦恼。

古希腊罗马神话赏析论文

古希腊罗马神话赏析论文院系：电气信息工程学院专业：电气工程及其自动化班级：学号：姓名：论奥德修斯人物形象特征希腊神话中有个名叫奥德修斯的战将，用木马计大破特洛伊，一剑刺瞎独目巨人波吕斐摩斯。

他的神勇，引来众女神妖的倾慕。

他战胜魔女基尔克，挡住海妖塞壬美妙歌声的诱惑，摆脱神女卡吕普索的追求，历经磨难，最终回到了自己的皇宫。

那他究竟是个什么性格特征的英雄呢？《伊利亚特》中描述了一个善用言辞、计谋、夜袭、埋伏的奥德修斯。

奥德修斯刚一亮相, 荷马特别强调他外表不起眼, 但是在他从胸中发出宏亮的声音时, 他的言词却像冬日的雪花纷纷落飘下, 没有凡人能同奥德修斯相比。

如此推崇奥德修斯的言辞, 乃因为言辞与智慧相关。

到了《奥德赛》奥德修斯直接凭借智慧和言辞(主要是谎言)完成了另一类型英雄的塑造。

面对战后的新世界, 奥德修斯并不以勇力取胜。

与《伊利亚特》的尚武相比, 《奥德赛》更重智。

奥德修斯的追寻——《奥德赛》的环境比《伊利亚特》复杂得多, 同样是十年的时间, 《伊利亚特》发生的事件定格在特洛亚, 而《奥德赛》里奥德修斯跑遍地中海四处漫游。

《伊利亚特》里的英雄只需在战场格杀, 赢取战斗的胜利; 奥德修斯在战争结束后却面对复杂的人和事, 其处境和际遇几乎涵盖了古代社会的所有模式: 独目巨人波吕斐摩斯的野蛮粗暴, 有教养且愿意送客返乡的费埃克斯人; 助人为乐的友好主人(如赐奥德修斯风袋的风王艾奥洛斯), 吃人的生番巨人族莱斯特律戈涅斯人; 让人遗忘过去的洛托法戈伊人, 歌声迷人却异常危险的女妖塞壬; 善用药草的魔力把人变成猪猡的魔女基尔克, 清纯可爱的少女瑙西卡亚和亲切感性的神女卡吕普索, 等等。

经过这些经历的磨砺, 奥德修斯成为一个阅历丰富, 理解一切事物的人。

荷马让奥德修斯的旅程和返乡成为人生战场, 其残酷激烈丝毫不亚于血肉搏杀的真实战场, 其诡谲奇幻又非真实战场可比。

和奥德修斯同住了七年的神女卡吕普索曾经问他, 为什么不要神女的眷爱和长生不死, 这些不就是凡人追逐的东西吗? 奥德修斯答曰, 他怀念故土, 渴望返回家园对奥德修斯的话不能只作字面的理解。

对古希腊罗马神话中战争的感悟作文

对古希腊罗马神话中战争的感悟作文古希腊罗马神话中的战争，总是让人感慨万分。

那些英勇的战士们，为了荣誉、为了信仰、为了家园，不惜拼尽全力，奋不顾身地投入到激烈的战斗中。

他们的勇敢和智慧，让我们这些现代人不禁为之动容。

在古希腊神话中，最著名的战争莫过于特洛伊战争。

这场战争持续了十年之久，双方损失惨重。

最终还是希腊军队取得了胜利。

这场战争告诉我们，团结就是力量。

只要我们齐心协力，就没有什么困难是不能克服的。

另外，还有一个关于奥德修斯的故事。

奥德修斯是希腊神话中最聪明的人之一。

他在回家的路上遇到了无数的困难和危险，但是他总能够想出办法来解决问题。

最终，他成功地回到了家乡，并击败了那些企图阻止他的敌人。

这个故事告诉我们，智慧和勇气同样重要。

只有既有智慧又有勇气的人，才能够在生活中取得成功。

当然啦，古希腊罗马神话中的战争并不都是正义战胜邪恶的。

有些时候，战争的结果并不是那么理想。

比如说，阿喀琉斯与赫克托耳之间的战争。

这场战争中，阿喀琉斯因为自己的骄傲而输给了赫克托耳。

这个故事告诉我们，骄傲是一件非常危险的事情。

只有谦虚谨慎的人才能够走得更远。

总之呢，古希腊罗马神话中的战争虽然残酷无情，但是它们也给我们留下了很多宝贵的人生经验。

通过阅读这些神话故事，我们可以更好地理解人性、勇气、智慧等等抽象的概念。

同时呢，这些故事也可以让我们更加珍惜现在的生活，并且激励我们在未来的道路上勇往直前。

希腊罗马神话论文

希腊罗马神话结课论文----关于人类起源，世界起源关于人类的起源，世界的起源，至今科学家都不能给出一个让人信服的说法。

研究的角度不同，得出的结论就不同。

在众多的说法中，我对神话中对人类起源，世界起源的说法比较感兴趣，不得不对远古人民产生一种由衷的佩服之情。

神话是由远古人民的集体智慧创作而成并且流传至今的故事，它与神、人类、万物、社会变迁联系在一起，反映了原始人最初关于世界起源、人类起源的构想，突显了民族特色，体现了人类特有的形而上冲动和独特的思维方式。

神话记录了早期人类对自然和自身的理解，对于宇宙万物的认识，以及在这一认识过程中所形成的知识体系和信仰体系。

因此，不同的地域故产生不同的神话故事。

在我国的神话中关于人类起源有数多中的说法。

《淮南子》是比较早的说法，还有盘古开天辟地，女娲造人等神话故事，都是中国的经典的创世神话。

在世界的起源方面，希腊神话在关于太古时期的天地观念与中国神话是相似, 都构想为世界本来是混沌一团、天地不分。

处于混沌的状态(卡俄斯) ,卡俄斯生产地母盖亚(大地) 和孪生兄弟塔耳塔罗斯(地狱) 。

盖亚从单性繁殖了天空（乌拉诺斯—第一代主神）、海洋（蓬托斯）山脉（乌瑞亚），再与所生之子乌拉诺斯结合，生了12个泰坦分别代表了世界最初的些事物（曰、月、天、时间、正义、记忆等）和与蓬托斯结合生育了不同的海神，使之成为希腊神话中诞生的世界上的第一批神（泰坦神），其中克洛诺斯为第二代主神。

泰坦神间彼此结合而生太阳、月亮、星辰等。

宙斯是第二代神王神后克洛诺斯和瑞亚最小的儿子，成为了第三代主神、奥林匹斯的众神之首。

奥林匹斯众神掌管自然和生活的各种现象与事物，组成以宙斯为中心的奥林匹斯神统体系，并且孕育了好多神，就是这样一代一代的繁衍下去，不断丰富完整世界起源人类起源的神话故事。

在生殖性神话的背景下，希腊神话围绕着父子之间的斗争的主题展开，神话故事生动有趣，让我了解了希腊关于世界起源的想法。

综合希腊和中国的神话来比较，希腊和中国的神话都属于生殖性创世神话，不同的地方就是中国属于单性生殖型神话，而希腊神话属于双性生殖型神话。

希腊罗马神话论文美杜莎

From Medusa learn Greece and Rome cultureAbstractGreece and Rome are the cradle of western culture. Greek and Roman mythology, as the symbol of Greece and Rome, are therefore of great significance to the western culture. As a vast system, Greek mythology has an extensive influence on the arts, and the literature and the language of Western civilizations. Poets and artists from ancient times to the present have derived inspiration from Greek mythology. Also, Greek mythology had an influence on the culture of many commentary countries such as Rome. The Greek influence on Rome was explicitly exhibited in the Roman mythology. Like Greek mythology, Roman mythology is the body of traditional stories of gods and heroes, concerning with ancient Rome's legendary origins and religious system. as represented in the literature and visual arts of the Romans. Roman mythology has greatly influenced by Greek mythology with respect to the reinterpretation of Greek myths with a Roman version in Roman mythology. During Rome's protohistory, Greek religion had an influenced on the whole Italian peninsula. In that time, Greek mythology had introduced into Rome. In later time, there had been a popular period artistic imitation of Greek literary models by Roman authors.In both Greek and Roman mythology, they are full of popular heroic legends. These heroic legends can often tell us about the value of the ancient people. The value they worship is often gave to the heroes in their myth. By seeing what kind of value the heroes are addicted to in the myths can have a glimpse on the value of the sociaty in that time.Medusa, one of the three Gorgons, daughter of Phorcys and Ceto. She was the only one of the Gorgons who was subject to mortality. She is celebrated for her personal charms and the beauty of her locks. Neptune became enamoured of her, and obtained her favours in the temple of Minerva. This violation of the sanctity of the temple provoked Minerva, and she changed the beautiful locks of Medusa, which had inspired Neptune’s love to serpents. According t o Apollodorus, Medusa and her sisters came into the world with snakes on their heads, instead of hair, with yellow wings and brazen hands. Their bodies were also covered with impenetrable scales, and their very looks had the power of killing or turning to stones. Perseus rendered his name immortal by his conquest of Medusa. He cut off her head, and the blood that dropped from the wound produced the innumerable serpents that infest Africa. The conqueror placed Medusa's head on the shield of Minerva, which he had used in his expedition. The head still retained the same petrifying power as before, as it was fatally known in the court of Cepheus.. Some suppose that the Gorgons were a nation of women, whom Perseus conquered.Medusa's head is both a mirror and a mask. It is the mirror of collective violence which leaves the Devil's mark on the individual, as well as being the image of death for those who look at it.Key Words: Medusa; head;womenGorgom are three sisters of Greek mythology，they living in the remote of western, they are the daughter of Phorcydes. Their head and neck are full of scales, the hair are many snakes, with a wild boar tusks and a pair of iron hand and golden wings, any see them will immediately turned into stone. Medusa is one of three sisters of Gorgon. Her father is the Nept Poseido while his mother is the see monster Ceto, her hair are many snakes. Three sisters of Gorgon, only Medusa was physically, her sister Cecillia and Euryale is magic body. Allegedly Medusa once was a beautiful girl, because boasted good-looking than Athena.Medusa began her life as a beautiful human, admired for her long, flowing hair. When the sea god Neptune (the Greek god Poseidon) began to fall in love with her, the goddess Minerva (the Greek goddess Athena) became jealous, took away all of her beautiful, leaving her an ugly monster form, beauty became the devil and changed Medusa into a hideous Gorgon, a creature with a head full of snakes. Years later Minerva completed her destruction of Medusa when she helped the young hero Perseus slay the hideous Gorgon. In order to save his mother, Perseus was ordered by Polydectes, the cruel king of the island Seriphos to kill and behead Medusa. Minerva helped him by giving him her shield as protection. After days of traveling, Perseus finally spotted Medusa. To avoid being turned to stone, Perseus looked at the monster through her reflection in Minerva's shield. As he moved nearer, he grew more and more horrified by her repulsive appearance. With one sweep of his sword, Perseus severed Medusa's head from her body. Perseus quickly stuffed Medusa's head inside his sack.When Perseus decapitated the gorgon Medusa, she was already pregnant by the sea god Poseidon who had visited her in the form of a stallion. As her body fell to the ground, the two offspring of this union. Pegasus and the warrior Chrysaor leapt fully developed from her body. The young hero took flight for the island of Seriphos in the winged sandals given to him by the god Dis (the Greek god Hades). When Perseus arrived on Seriphos, he rescued his mother from Polydectes by turning him to stone with Medusa's still deadly head. He then gave the head to the goddess Minerva, who attached the head to her shield to help her in future battles. In Roman and Greek Mythology; Medusa is one of three terrible Gorgon sisters. She has snakes in her hair and bronze claws on her hands. Anyone who looks directly at Medusa immediately turns to stone.Medusa's head, an apparently simple motif linked to the myth of Perseus, was freed through being severed and cut loose from its 'moorings' by the hero in the remote depths of the world. There is something paradoxical about the story since the monster was all the more indestructible because it had been killed. Indeed, the figure of Medusa is characterized by paradox, both in terms of the actual mythical stare, which turned men to stone, and in the interpretations that have been given to it. The fascination that she exerts arises from a combination of beauty and horror. Her head was used, in Ancient times, as an apotropaic mask -- a sort of talisman which both killed and redeemed.As well as being the very symbol of ambiguity, Medusa's head is also one of the most archaic mythical figures, perhaps an echo of the demon Humbaba who was decapitated by Gilgamesh. Everything implies that it is a 'representation' of the mostmeaningful aspect of the sacred. Insofar as it is the role of literature to assume responsibility for the sacred, each era, when confronted with the mystery of the 'origins', has re-examined Medusa's head with its mesmerizing stare as something which conceals the secret of the sacred.In Christian symbolism, Medusa represents the dreaded enemy and death, and thus becomes an embodiment of the Devil. She appears in this guise in a passage in the Book of Arthur which belongs to the cycle of the Holy Grail. In fact, this is a female monster, the 'Ugly Semblance', who lives at the bottom of a river. She does not exercise her powers by turning people to stone, but by causing the waters to swallow them up. Similarly, a play by Calder, which tells of the adventures of Andromeda and Perseus, has the hero, a new incarnation of the Saviour, defeating Medusa who is the personification of Death and Sin.At first glance, therefore, Medusa's head is very much a representation of the terrifying other, of absolute negativity. She continues to fulfill this function in the twentieth-century trilogy by the Greek writer Pandelis Prevelakis, The Ways of Creation, which comprises The Sun of Death , The Head of the Medusa and The Bread of the Angels. In the trilogy, the Gorgon represents both 'Nietzschian nihilism' and the foreign ideologies which threaten Hellenism. The hero sets out to free Greece once again from the monster, but he fails and realizes that there is no longer a single piece of untaited land in his country. Everything points to the fact that the malady specific to modern Greece, and the country's inability to accommodate, change, have provoked this monstrous 'representation' of the other. Medusa's head does indeed seem to be a mask which serves to justify her absolute and evil strangeness.The fact that Medusa is a mask and that this mask hides a more human face, is borne out by the way in which her portrayal is developed from the pre-Classical era to the Hellenistic period. There is a dual transformation i.e. the disappearance of both facial quality and ugliness. Beneath the mask lies what could be called Medusa's 'tragic beauty'.Many elements of the myth suggest, through its basic ambiguity, the tragic nature of Medusa. One of the most revealing of these is the gift from Athena to Asclepius of two drops of the Gorgon's blood, one of which has the power to cure and even resurrect, while the other is a deadly poison. Medusa's blood is therefore the epitome of the 'pharmakon', while she herself -- as is shown by the apotropaic function of her mask -- is a 'pharmakos'. As has been demonstrated by Ren Girard, the 'pharmakos' is the scapegoat whose sacrifice establishes the dual nature of the sacred and reinforces the separation of the monster and the god. However, it is for literature and the arts to reveal the close relationship between opposites and the 'innocence' of the victim. In this respect, the myth of Medusa is revealing.In the same way that there is a hidden similarity between Athena, Goddess of Wisdom, and Medusa, a similarity also exists between the sun, symbol of the Ideal and the Gorgon's mask. Although they are both objects of desire, Athena and the sun are unapproachable and terrifying for those who come too close. This danger is illustrated by the Platonic myth of Phaedrus in which the downfall of souls is brought about by an overpowering desire to see the sun.According to Ovid . the reason for the dispute lay in Poseidon's rape of Medusa inside the temple of the virgin goddess. The goddess is supposed to have punished Medusa by transforming her face, which therefore made Medusa an innocent victim for the second time. Medusa had boasted that she was more beautiful than Athena. Everything points to the face that the goddess found it necessary to set herself apart from her negative double in order to assert her 'own' identity. Common features are numerous. For example, snakes are the attribute of Athena, Moreover, the hypnotic stare is one of the features of the goddess 'with blue-green eyes', whose bird is the owl, depicted with an unblinking gaze. Finally, because she has affixed Medusa's head to her shield, in battle or in anger she assumes the terrifying appearance of the monster. Thus, in the Aeneid , she expresses her wrath by making flames shoot forth from her eyes. These observations are intended to show that Athena and Medusa are the two indissociable aspects of the same sacred power.In this interplay of doubles, the theme of reflection is fundamental. It explains the process of victimization to which Medusa was subjected, and which falls within the province of the superstition of the 'evil eye'. The way to respond to the 'evil eye' is either to use a third eye -- the one that Perseus threw at the Graiae - or to deflect the evil spell by using a mirror. Ovid, in particular, stressed the significance of the shield in which Perseus was able to see the Gorgon without being turned to stone, and which was given to him by Athena. Everything indicates that the mirror was the real weapon.Ovid was responsible for establishing the link with Narcissus, a myth that he made famous. It seems that the same process of victimization is at work here. The individual is considered to have been the victim of his own reflection, which absolves the victimizer from all blame. This association of the two myths appears in a passage in Desportes' Amours d’Hyppolite where the poet tells his lady that she is in danger of seeing herself changed 'into some hard rock' by her 'Medusa's eye'. Even more revealing is Gautier's story Jettatura in which the hero, accused of having the 'evil eye', eventually believes it to be true and watches the monstrous transformation of his face in the mirror: 'Imagine Medusa looking at her horrible, hypnotic face in the lurid reflection of the bronze shield.ConclusionThis terrible woman, the paragon of all women, whom every man simultaneously fears and seeks and for whom Medusa is the mask, is in fact the mother, i.e. the great Goddess Mother whose rites were concealed by the Gorgon's face. Countless texts illustrate Medusa's affinity with the depths of the sea and the terrible power of nature, The snakes are multiple phalluses and petrifaction represents the comforting erection.From this point onwards, the myth of Perseus takes on a new psychological meaning. It tells of the exploit of the hero who, because he has conquered ‘castrating' woman and armed himself with the talisman of Medusa's head, is able to conquer Andromeda, the terrifying virgin, and kill the sea monster which represents the evil aspect of woman. A 'sacred' man must perform the first sexual act with a woman.Gods are a reflection of human and the world in the mythology can be seen as a record of the early life in Greece and Rome However, the myth reveals and this seemsthat woman's 'castration' is a result of the violence imposed on her by the original hero. Woman only appears in the story divided by separative decapitation, casting off the feminine in the remote depths of the world. Cast down, the feminine remains unrecognized within its innermost recess and it is this 'abject' void which maintains the theatre of the world and the logic of the talisman.In this theatre, woman occupies the two opposite extremes of evil and their recess cure. That is why, despite her terrifying power, she is fascinating. 'Fascinum' means 'charm' and 'evil spell', but also 'virile member'. Between the 'emptiness' and the Idol represented by the division of woman, yawns the gulf of male Desire. This persistent ambiguity can be found in the classification of the creature called the Medusa. It owes its name to its resemblance to Medusa's head. Medusa keeps her secret behind the ambiguous mask. Although she is 'representable', she is never 'presentable' and even Perseus only sees her reflected in his shield.In a word, no matter weather she is truly live in this world, she is mysterious and because of her enables the beautiful myth to be played out year and year.。

希腊罗马神话英文论文

The analysis of the character of Hera Hera, one of the twelve main gods in Olympic mountain, is the wife and sister of Zeus who owns the greatest power among all the gods and rule them. In charge of the affairs of marriage and families of the man’s world, Hera is the guardian angle of wo men and marriage.Hera, the eldest daughter of Cronus and Rhea, was born at Samos, or, according t o some accounts, at Argos, and was reared by the sea-divinities Oceanus and Tethys, who were models of conjugal fidelity. She was the principal wife of Zeus, and, as que en of heaven, participated in the honours paid to him, but her dominion only extended over the air (the lower aerial regions). Hera appears to be the sublime embodiment of strict matronly virtue, and is on that account the protectress of purity and married wo men. Faultless herself in her fidelity as a wife, she is essentially the type of the sanctit y of the marriage tie, and holds in abhorrence any violation of its obligations. So stron gly was she imbued with this hatred of any immorality, that, finding herself so often c alled upon to punish the failings of both gods and men in this respect, she became jeal ous, harsh, and vindictive. Her exalted position as the wife of the supreme deity, comb ined with her extreme beauty, caused her to become exceedingly vain, and she conseq uently resented with great severity any infringement on her rights as queen of heaven, or any apparent slight on her personal appearance.The following story will signally illustrate how ready she was to resent any slight offered to her.At the marriage of the sea-nymph Thetis with a mortal called Peleus, all the gods and goddesses were present, except Eris (the goddess of Discord). Indignant at not be ing invited, she determined to cause dissension in the assembly, and for this purpose t hrew into the midst of the guests a golden apple with the inscription on it "For the Fair est." Now, as all the goddesses were extremely beautiful, each claimed the apple; but at length, the rest having relinquished their pretensions, the number of candidates was reduced to three, Hera, Athene, and Aphrodite, who agreed to appeal to Paris for a settlement of this delicate question, he being noted for the wisdom he had displayed in his judgment upon several occasions. Paris was the son of Priam, king of Troy, who, igno rant of his noble birth, was at this time feeding his flocks on Mount Ida, in Phrygia. H ermes, as messenger of the gods, conducted the three rival beauties to the young shep herd, and with breathless anxiety they awaited his decision. Each fair candidate endea voured to secure his favour by the most tempting offers. Hera promised him extensive dominions; Athene, martial fame and glory; and Aphrodite, the loveliest woman in th e world. But whether he really considered Aphrodite the fairest of the three, or preferr ed a beautiful wife to fame and power, we cannot tell; all we know is that to her he aw arded the golden apple, and she became ever after universally acknowledged as the go ddess of beauty. Hera, having fully expected that Paris would give her the preference, was so indignant that she never forgave him, and not only persecuted him, but all the f amily of Priam, whose dreadful sufferings and misfortunes during the Trojan war wer e attributed to her influence. In fact, she carried her animosity to such an extent that it was often the cause of domestic disagreements between herself and Zeus, who espous ed the cause of the Trojans.Among the many stories of these frequent quarrels there is one connected with H eracles, the favourite son of Zeus, which is as follows:--Hera having raised a storm at sea in order to drive him out of his course, Zeus became so angry that he hung her in t he clouds by a golden chain, and attached heavy anvils to her feet. Her son Hephaestu s tried to release his mother from her humiliating position, for which Zeus threw him out of heaven, and his leg was broken by the fall.Hera has the courage to break the bondage of traditional marriage and fight for equal marriage. She has done her best to maintain the sanctity of marriage. However, her personal strength was not enough to change patriarchal society.I’m deeply impressed by Hera and can’t help feeling sad for her. As a woman, o wning unique beauty and great power which is only secondary to Zeus’s, she, howeve r, fail to have a undivided husband, which is nearly every woman is eager for. Her stor y, in my eyes, is such a tragedy.Although Hera is a goddess, she also has the characteristics, the feelings and thebelief of the mortal women. For one thing, she is very loyal to her husband and her fa mily. As we all know, Hera possesses a rare beauty with impressive and dignified figu re, and it’s her beauty that made Zeus fall in love with her and adhere to marrying to h er, but all her love is for nobody but Zeus, which never changes no matter what happe n. She is represent for the women’s virtue and dignity. For another, like other common mortal women, she showed great jealousy when she found her husband, Zeus, had int imate relationship with many other women. With great power, Hera, did many terrible and malicious things to these women as well as their children. For example, she turne d Iol , the goddess who Zeus loved so much and tried many ways to gain, into a cow a nd let the big gadbees bit her, resulting in that Iol escaped from Greek for she couldn’t stand the suffering any more. Another typical instance is about Apollo. Hera persecut ed his mother, Leto, preventing her bearing him. Consequently, the poor mother failed to find a place to give birth her children, but finally she succeed to hide herself in a s mall island and survived. Hera’s jealousy impress many people.I appreciate Hera’s konstata and firmness for love. However, what she did to thos e women who were attractive by Zeus, I think, is unreasonable and unfair. It inspires me of many thoughts and feelings. First, Hera’s story reminds me of those poor wome n in the Chinese ancient times when men were used to have several wives. And the w omen not only tried their best to satisfy the only husband, but also thought out of man y ways to persecute other wives, wasting all her life. So sad! The men, in my opinion, should bear most responsibility for it. Second, I realize the strong strength of power. If Hera were a ordinary woman without great power, she couldn’t do so much and great harm to other women; if Zeus were a common man without great power, was he able to be playful and own so many women? Power satisfies the selfish desire of them, so does the human beings. In conclusion, I learn a lot from the Greek mythology and the Hera’s story touches my heart most. I realize I, even all of us, should admire virtue an d justice, and shouldn’t satisfy our selfish desire at the cost of harming others.。

古希腊罗马神话结课论文

古希腊罗马神话结课论文古希腊罗马神话艺术鉴赏题目：古希腊罗马神话文学起源第十组古希腊罗马神话文化起源摘要：古希腊和古罗马这两大文明是西方文化的摇篮，是世界文化史上两座永恒的丰碑，是西方人所津津乐道的光辉时代。

勤劳的古希腊和罗马人民用他们的智慧给我们创造了一个个令人叹为观止的杰作，留给我们一个无论是文化史上还是艺术史上的维以超越的高度。

其中古希腊文化又是罗马文化的源头，罗马文化在其基础上不断地发展创新，创造了许许多多独树一帜的文化，艺术构想和杰作。

因此本文主要是讨论了这两个文化的异同，找出“原希腊”的东西，区分罗马的创新，给西方文化的传承和发展提供一些粗浅的线索和脉络。

关键词：艺术史自然科学物物交换爱琴海引言希腊是由本土半岛和一些散落在爱琴海和地中海的一些小岛组成的。

它三面环海，只有北面与陆地相接，且多丘陵少平原，属于温和的海洋性气候。

正是因为这样的地理条件使得它的农业难以发展，为了生存，希腊人学会了和其它地区进行农产品的交换，并逐渐形成了地中海地区繁荣的贸易往来。

正文罗马的环境和希腊类似，它地处今意大利半岛，是一个多丘陵，多沼泽的地区。

因此农业也不十分发达。

但罗马解决这一问题的方法并不是像希腊一样通过自由贸易，物物交换。

它使用的是一种血腥的方式——侵略和扩张。

为了满足罗马帝国日渐庞大的粮食、财富的需求，罗马人选择了不断地侵略。

依靠着强大的军队、武器，罗马从昔日台伯河边上一个卑微的小城一跃成为统治着200万平方英里的帝国的中心。

同时随着罗马帝国的不断膨胀，使得对这些物资的消耗急剧增多，反过来这又导致了罗马帝国的继续扩张，如此一来便形成了一个恶性循环，它由始至终都伴随着罗马帝国。

相比而言，为了抵御恶劣多变的海上环境，希腊发展起来的却是一种互相合作的良性竞争模式。

并且，后者己渗入当代西方人的精神领域。

除此之外，希腊的经济发展主要是靠商人进行的海外和地区间的贸易往来和本土的农民耕种。

希腊城邦中的奴隶数量比罗马少得多，罗马经年累月的征战，带来财富的同时还有大批大批的奴隶，这些奴隶广泛地分布在大部分的产业，比如采矿，冶金，驾船，铺路和大型建筑的建造。

关于罗马神话希腊神话的文章

关于罗马神话希腊神话的文章
罗马神话和希腊神话是两个不同的文化传统，但存在着很多相似之处。

罗马神话是指古罗马时期所信奉的神灵和神话故事，而希腊神话则是指古希腊时期所信奉的神灵和神话故事。

虽然两者有着共通之处，但罗马神话与希腊神话依然有很多区别。

首先，罗马神话中的神灵更多地体现了实用主义的思想，他们被描绘为为人们带来好处和利益的神灵。

而希腊神话则更加着重于神灵的人性化特征和神灵间的互动与纷争。

其次，罗马神话中的神灵更加正义和秩序，每个神灵都有着自己的职责和地位，而希腊神话则讲述了神灵的个性和情感，一些神灵会因为别的神灵或人类的行为而受到冒犯。

最后，罗马神话的神灵更多地体现了时间和历史的进程，例如祖先神灵和历史人物的崇拜，而希腊神话则更多地关注神灵和英雄的传奇故事和人生价值观。

总的来说，罗马神话和希腊神话都是人类文化中的重要组成部分，它们体现了人类的信仰、智慧和价值观。

古希腊神话期末论文

古希腊神话的论文题目：古希腊神话的发展对人类的影响摘要：古希腊神话作为西方文化的源头之一，正如马克思所说，希腊神话是它的土壤和武库。

古希腊的戏剧、建筑、绘画、雕塑等都从古希腊神话中汲取养料。

所以可以说，古希腊神话是西方文化的重要源头。

古希腊神话是西方文化百用而不厌其烦的素材，这已是人所共知的。

本文重在试图探索西方文化从古希腊神话中汲取的两钟重要的精神血液即人本和理性，这两种精神恰是整个西方近代文化的两个主要精神。

马克思在《<政治经济学>导言》中说，神话是“通过人的幻想，用一种不自觉的艺术方式加工过的自然和社会形式”是“用想象和借助想象以征服自然力、支配自然力，把自然力加以形象化”。

所以神话是人类对自然与自我以及自然与自我关系的探索。

神话应该是氏族的、部落的、民族的，乃至某一人群团体原初的自然观、世界观真实的理性的表现。

神话反映人的思想和理念，而且“神话作为一个民族足迹的最早记录，因为较少受到传统文化的熏染，或当代文明的压抑，它直接的表现了人性中接近底层或本质的东西。

”古希腊神话作为有丰富体系的神话，当然也表现了古希腊人性中最本质的精神。

绪论：背景：通过古希腊神话我们可以看到那时的人们卓越的天性和不凡的想像力。

也通过许多人神交织的民族英雄故事来解释自然现象和人的生死。

这些众人所创造的人、神、物的故事，经由时间的淬链，就被史家统称为“希腊神话”，它充满着神秘浪漫色彩将现实生活与幻想交织在一起，为人们创造了一个包罗万象的瑰丽世界，生动地描绘了古希腊人的社会生活图景，是值得一读的著作。

而且在我们的日常生活中其实也会接触到这些典故，例如十二星座的由来。

时至今日，我们虽不必“言必称希腊”，但对希腊神话作一系统的了解是每一个现代人所必需。

目的：通过研读加强我们对古希腊文化的了解，在丰富我们的知识的同时也让我们在业余时间中放松自己。

鲜明的人物与神奇的故事让我们了解希腊神话对整个西方乃至人类的宗教、哲学、思想、风俗习惯、自然科学、文学艺术产生了全面深刻的影响的重要性。

2009希腊罗马神话学期论文

《希腊罗马神话》学期论文相关内容及要求希腊神话和其他民族神话一样，形象地反映了古希腊人从蒙昧时代走向文明时代的过程，表现了古希腊人民在生产和斗争中的优秀品质和可贵精神，可以说，思想性和艺术性都达到了相当高的程度。

他以丰富的想象和生动优美的故事情节，特别是那“神人同形同性”的鲜明特征，倾倒了无数的哲人和文学家，也因而获得了永久的艺术魅力。

他不仅孕育了丰富多彩的古希腊文化，而且对欧洲文学艺术的发展也产生了深远的影响。

希腊的一切文学艺术作品：荷马史诗、悲剧以至造型艺术，大多以神话为题材；罗马人几乎全盘继承了古希腊神话；后代的许多作家也多以希腊神话为素材进行创作，特别是文艺复兴时期的绘画等艺术也把希腊神话作为题材来源。

即使是现在，希腊神话中所反映出来的文化精神，也深深的影响着西方人的文化生活，那些可歌可泣的英雄故事，也早已成为欧洲人民的精神文化食粮；许多希腊神话故事经过千百年的流传，早已融入人们的日常生活和词汇中，成为人们普遍使用的具有特殊意义的语言。

如：“不和的金苹果”、“木马计”、“潘多拉的盒子”、“金羊毛”等。

有的还已成为某种意象的代名词，如：“奥德修斯”等。

而像“十二主神”的名字和“盗天火”给人类带来光明的普罗米修斯的名字，以及为民除害、造福的赫拉克勒斯的名字更是家喻户晓。

可以说，希腊神话已成为人们了解欧洲文学和西方文化精神最基本的教科书或必备的研究资料。

因为，在西方文化艰难曲折的产生与发展的历史中，最辉煌、最具代表性的重要时期之一，就是古希腊古罗马时代的文化。

而古罗马文化是古希腊文化的发展与继续，它是连接古希腊文化与后世西方文化之间的桥梁。

所以，不懂希腊神话，就很难透彻地理解欧洲文学和西方文化，也就不可能对自己民族的文化有一个清醒的认识。

学期论文主要内容包括以下几方面：1．英语词汇与希腊罗马神话（包括相关的英语及其文化渊源等，联系自己所学各学科教材中的实际例子更佳。

）2．希腊神话与其他民族神话之比较如:创世神话、人类的起源、对自然现象的解释（四季的变化等）、英雄传说等。

[整理版]希腊罗马神话论文

希腊罗马神话论文当初选希腊罗马神话的初衷只是为了听故事，听完故事以后引发了我的深思，希腊罗马神话中的十二位主神不是像孙悟空那样无父无母、石头缝里蹦出来的。

他们有着显赫又混乱的家世，神的血脉源远流长，每个神都有一段凡人般坎坷不平的身世，也有着烦人的喜怒哀乐、爱情仇恨。

所以希腊的神是人性化的神，有着人的缺陷、人的欲望，会犯人一样的错误，做人可能做的任何事情。

看希腊的神，就像看镜子中的我们；读希腊神话，就是在读人，读人性，尽管是用一种戏剧化的形式呈现出来的。

听完希腊罗马神话故事，留给我印象最深的就是奥德修斯，首先让我欣赏的就是他的智慧。

下面简要描述一下体现奥德修斯智慧的几个故事。

当斯巴达国王墨涅拉俄斯知道他的妻子被帕里斯抢走以后，派出使者要求以前向海伦求婚的王子履行他们的诺言，参加讨伐特洛伊的战争，几乎全希腊都响应他的号召，只有两个国王没有答应，一个是奥德修斯，另一个就是阿喀琉斯。

奥德修斯刚得贵子，不愿意离开他的妻子和幼小的儿子，所以他想到了一个办法——装疯，他拉了一头驴去耕地，还把盐当种子撒在田里，但是帕拉墨得斯看透了他的诡计，就偷偷的抱来他的儿子忒勒玛科斯放在奥德修斯正要犁的地上，奥德修斯小心翼翼的把犁提起来，从儿子旁边绕过去，所以便承认了他是在装疯，不得不答应参加特洛伊战争。

阿喀琉斯也没有答应参加应战，他是阿耳戈英雄珀流斯和海洋女神忒提斯的儿子，忒提斯知道这场战争会牺牲他的儿子，所以把他送到了斯库洛斯岛，让他和国王吕科墨德斯的女儿们生活在一起，阿伽门农派奥德修斯去动员他参展，但是无论奥德修斯的眼力如何敏锐，仍然认不出来哪个是穿着女装的阿喀琉斯，于是奥德修斯心生一计，他叫人拿来一矛一盾放在姑娘们的屋子里，然后他命令随从吹响战斗的号角，姑娘们大惊失色，都逃出了屋子，只有阿喀琉斯勇敢的留下来，拿起了矛和盾，因此被奥德修斯识破。

战争持续到第九年，由于阿波罗的相助，帕里斯一箭射到了阿喀琉斯的脚后跟，阿喀琉斯的脚后跟是他致命的弱点，所以中箭以后轰然倒下就死了，希腊军队没有了阿喀琉斯，在战争中一直处于不利，幸亏奥德修斯相出了一条木马计，他们造了一匹很大的木马，把他们中间最勇敢的英雄藏在马腹中，其余的人撤退，假装离开战场，同时让一个特洛伊人不认识的士兵，冒充逃难的人混进城区，告诉特洛伊人说希腊人撤退了，还要告诉他们希腊人造了一个巨大的木马，献给智慧女神雅典娜，并说服他们把木马运进城，到了夜里，他将给希腊军队发出暗号，躲在木马里的人跳出木马与外面的希腊军队里应外合，攻陷特洛伊城。

希腊罗马神话的文化鉴赏

橄榄枝的由来宙斯有一个儿子和一个女儿。

儿子叫“阿波罗”，天生俊美，力大无比，是专门掌管太阳的“太阳神”。

女儿则是掌管月亮的“月亮女神”。

有一天，阿波罗接到父亲的指示：去射杀一个妖怪。

他在回来的路上看到一个小孩在玩弄一张弓，就走到孩子的面前说：“你们小孩不可以玩弓。

”并提起射杀的妖怪给他看，说了很多轻蔑的话。

那个小孩就是负责掌管爱的伊烙克，也有人叫他丘比特。

丘比特听了阿波罗的话以后十分生气，就说：你信不信我会用我的箭射中你。

”阿波罗当然不相信。

于是丘比特对着天空射出了两支特别的箭：第一支箭会使人深深陷入爱河，而第二只箭则会使人不会对异性动心。

第一支箭射中了阿波罗，第二只箭射中了河神的女儿，这是一个名叫达芙妮的美丽少女，她是神界中的第一大美女。

阿波罗一看到达芙妮就深深爱上了她，他对她的爱就像疾病缠身一样无法控制。

他如影随形地跟着达芙妮，不过那名少女崇尚月亮女神，想追随她成为一个永恒的处女，因此对男性非常排斥，根本不理会阿波罗的追求，但阿波罗并没有放弃。

一天，当达芙妮兴高采烈地在林中游玩时，她发现太阳神阿波罗用异常惊奇与羡慕的目光盯着自己。

光芒四射的太阳光加上丘比特箭的作用使她害怕得飞跑起来。

热切的太阳神紧随其后，竭力叫喊着让她止步。

她的美丽与优雅触发了他的激情，他惟恐这将是他们的最后一面。

快步如飞的仙女拼命地奔跑，但情绪激昂的阿波罗紧追不放。

她越过旷野，穿过人迹罕至的树林，但身后追赶的脚步声愈加逼近。

他一边追赶，一边恳求心爱的神女放慢脚步，害怕神女在石道上跌倒会擦破她那闪耀的皮肤。

但奔逃的神女根本不顾及这些。

她甚至没朝身后瞥一眼，就在快要被追到的时候，达芙妮终于停住了，因为她被一条大河拦住了，达芙妮向她前面的大河求救：“爸爸，请你张开大口把我吞下去吧！”河神向来疼爱这个美丽的女儿，因此施法将她变成一颗月桂树。

很快达芙妮发现自己如胶似漆地紧附在地面上。

接着，娇嫩的皮肤上长出一层松软的树皮，她变成了一棵月桂树。