Cicero, Against Verres, 2.1.53–86 Latin Text with Introduction, Study Questions, Commentary and English Translation
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The Problem of Evil in Augustine's Confessions
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 The rP oblem of Evil in Augustine's Confessions Edward Matusek University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the American Studies Commons, and the Philosophy Commons Scholar Commons Citation Matusek, Edward, "The rP oblem of Evil in Augustine's Confessions" (2011). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/3733 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Problem of Evil in Augustine’s Confessions by Edward A. Matusek A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Philosophy College of Arts and Sciences University of South Florida Major Professor: Thomas Williams, Ph.D. Roger Ariew, Ph.D. Joanne Waugh, Ph.D. Charles B. Guignon, Ph.D. Date of Approval: November 14, 2011 Keywords: theodicy, privation, metaphysical evil, Manichaeism, Neo-Platonism Copyright © 2011, Edward A. Matusek i TABLE OF CONTENTS Abstract iii Chapter One: Introduction to Augustine’s Confessions and the Present Study 1 Purpose and Background of the Study 2 Literary and Historical Considerations of Confessions 4 Relevance of the Study for Various -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Life with Augustine
Life with Augustine ...a course in his spirit and guidance for daily living By Edmond A. Maher ii Life with Augustine © 2002 Augustinian Press Australia Sydney, Australia. Acknowledgements: The author wishes to acknowledge and thank the following people: ► the Augustinian Province of Our Mother of Good Counsel, Australia, for support- ing this project, with special mention of Pat Fahey osa, Kevin Burman osa, Pat Codd osa and Peter Jones osa ► Laurence Mooney osa for assistance in editing ► Michael Morahan osa for formatting this 2nd Edition ► John Coles, Peter Gagan, Dr. Frank McGrath fms (Brisbane CEO), Benet Fonck ofm, Peter Keogh sfo for sharing their vast experience in adult education ► John Rotelle osa, for granting us permission to use his English translation of Tarcisius van Bavel’s work Augustine (full bibliography within) and for his scholarly advice Megan Atkins for her formatting suggestions in the 1st Edition, that have carried over into this the 2nd ► those generous people who have completed the 1st Edition and suggested valuable improvements, especially Kath Neehouse and friends at Villanova College, Brisbane Foreword 1 Dear Participant Saint Augustine of Hippo is a figure in our history who has appealed to the curiosity and imagination of many generations. He is well known for being both sinner and saint, for being a bishop yet also a fellow pilgrim on the journey to God. One of the most popular and attractive persons across many centuries, his influence on the church has continued to our current day. He is also renowned for his influ- ence in philosophy and psychology and even (in an indirect way) art, music and architecture. -
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
Playing with Oppositions. Verbal and Visual Antithesis in the Media. Hilde Van Belle [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship at UWindsor University of Windsor Scholarship at UWindsor OSSA Conference Archive OSSA 8 Jun 3rd, 9:00 AM - Jun 6th, 5:00 PM Playing with Oppositions. Verbal and visual antithesis in the media. Hilde Van Belle [email protected] Follow this and additional works at: http://scholar.uwindsor.ca/ossaarchive Part of the Philosophy Commons Hilde Van Belle, "Playing with Oppositions. Verbal and visual antithesis in the media." (June 3, 2009). OSSA Conference Archive. Paper 15. http://scholar.uwindsor.ca/ossaarchive/OSSA8/papersandcommentaries/15 This Paper is brought to you for free and open access by the Faculty of Arts, Humanities and Social Sciences at Scholarship at UWindsor. It has been accepted for inclusion in OSSA Conference Archive by an authorized administrator of Scholarship at UWindsor. For more information, please contact [email protected]. Playing with Oppositions. Verbal and visual antithesis in the media. HILDE VAN BELLE Department of Applied Language Studies Lessius University College / Catholic University Leuven St.-Andriesstraat 2 Antwerpen België [email protected] ABSTRACT: The inventive, argumentative and stylistic possibilities generated by the figures in general and the figure antithesis in particular are explored by Jeanne Fahnestock in the field of science. These ideas on the possibilities of antithesis I will develop in the analysis of some cases of this figure in the media. I will try to describe, analyse and evaluate how textual and/or visual pairs that form an antithesis are pushed into more, less, or a different opposition. -
A New Perspective on the Early Roman Dictatorship, 501-300 B.C
A NEW PERSPECTIVE ON THE EARLY ROMAN DICTATORSHIP, 501-300 B.C. BY Jeffrey A. Easton Submitted to the graduate degree program in Classics and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master’s of Arts. Anthony Corbeill Chairperson Committee Members Tara Welch Carolyn Nelson Date defended: April 26, 2010 The Thesis Committee for Jeffrey A. Easton certifies that this is the approved Version of the following thesis: A NEW PERSPECTIVE ON THE EARLY ROMAN DICTATORSHIP, 501-300 B.C. Committee: Anthony Corbeill Chairperson Tara Welch Carolyn Nelson Date approved: April 27, 2010 ii Page left intentionally blank. iii ABSTRACT According to sources writing during the late Republic, Roman dictators exercised supreme authority over all other magistrates in the Roman polity for the duration of their term. Modern scholars have followed this traditional paradigm. A close reading of narratives describing early dictatorships and an analysis of ancient epigraphic evidence, however, reveal inconsistencies in the traditional model. The purpose of this thesis is to introduce a new model of the early Roman dictatorship that is based upon a reexamination of the evidence for the nature of dictatorial imperium and the relationship between consuls and dictators in the period 501-300 BC. Originally, dictators functioned as ad hoc magistrates, were equipped with standard consular imperium, and, above all, were intended to supplement consuls. Furthermore, I demonstrate that Sulla’s dictatorship, a new and genuinely absolute form of the office introduced in the 80s BC, inspired subsequent late Republican perceptions of an autocratic dictatorship. -
Performance and Rhetoric in Cicero's Philippics * in Recent Years, the Idea Of
Performance and Rhetoric in Cicero's Philippics * In recent years, the idea of 'performance' has become a more and more important concept for the analysis of literary texts, even if the notion of 'performance' in literary criticism still does not denote a single agreed theory, but is a collective term referring to a number of different aspects and methods. The performance approach seems obvious for some literary genres, like drama and also oratory, for which performance is an essential char acteristic. In the case of orations, in antiquity already a detailed doctrine of the perfect performance was established, both in theory and practice. Building on this knowledge and trying to recover the quintessential context of a speech, people have successfully attempted to explore a Roman orator's potential and to contexrualize Roman orations by reconstructing the delivery of sample speeches.' However, there are further levels of performance to be looked at in a Roman speech if the term 'performance' is understood in a more specific way: there is not only the actio that determines the performance of a complete speech; the texts of transmitted speeches also exhibit passages where the wording shows that the orator bases his argument on the performance situation, particularly by making use of the active participation of the audience. Reactions from the audience are deliberately elicited by the orator, for instance by taking on certain roles; these techniques stem from his rhetorical training (for example, ethopoiia); however, considering and commenting on these reactions subsequently yield a performative dialogue with the audience, mirrored in the text. That opens up the opportunity to reconstruct a performance situation which goes beyond identifying how rhetorical techniques have been realized by the orator. -
TRADITIONAL POETRY and the ANNALES of QUINTUS ENNIUS John Francis Fisher A
REINVENTING EPIC: TRADITIONAL POETRY AND THE ANNALES OF QUINTUS ENNIUS John Francis Fisher A DISSERTATION PRESENTED TO THE FACULTY OF PRINCETON UNIVERSITY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY RECOMMENDED FOR ACCEPTANCE BY THE DEPARTMENT OF CLASSICS SEPTEMBER 2006 UMI Number: 3223832 UMI Microform 3223832 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 © Copyright by John Francis Fisher, 2006. All rights reserved. ii Reinventing Epic: Traditional Poetry and the Annales of Quintus Ennius John Francis Fisher Abstract The present scholarship views the Annales of Quintus Ennius as a hybrid of the Latin Saturnian and Greek hexameter traditions. This configuration overlooks the influence of a larger and older tradition of Italic verbal art which manifests itself in documents such as the prayers preserved in Cato’s De agricultura in Latin, the Iguvine Tables in Umbrian, and documents in other Italic languages including Oscan and South Picene. These documents are marked by three salient features: alliterative doubling figures, figurae etymologicae, and a pool of traditional phraseology which may be traced back to Proto-Italic, the reconstructed ancestor of the Italic languages. A close examination of the fragments of the Annales reveals that all three of these markers of Italic verbal art are integral parts of the diction the poem. Ennius famously remarked that he possessed three hearts, one Latin, one Greek and one Oscan, which the second century writer Aulus Gellius understands as ability to speak three languages. -
Poetic Diction, Poetic Discourse and the Poetic Register
proceedings of the British Academy, 93.21-93 Poetic Diction, Poetic Discourse and the Poetic Register R. G. G. COLEMAN Summary. A number of distinctive characteristics can be iden- tified in the language used by Latin poets. To start with the lexicon, most of the words commonly cited as instances of poetic diction - ensis; fessus, meare, de, -que. -que etc. - are demonstrably archaic, having been displaced in the prose register. Archaic too are certain grammatical forms found in poetry - e.g. auldi, gen. pl. superum, agier, conticuere - and syntactic constructions like the use of simple cases for pre- I.positional phrases and of infinitives instead of the clausal structures of classical prose. Poets in all languages exploit the linguistic resources of past as well as present, but this facility is especially prominent where, as in Latin, the genre traditions positively encouraged imitatio. Some of the syntactic character- istics are influenced wholly or partly by Greek, as are other ingredients of the poetic register. The classical quantitative metres, derived from Greek, dictated the rhythmic pattern of the Latin words. Greek loan words and especially proper names - Chaoniae, Corydon, Pyrrha, Tempe, Theseus, Zephym etc. -brought exotic tones to the aural texture, often enhanced by Greek case forms. They also brought an allusive richness to their contexts. However, the most impressive charac- teristics after the metre were not dependent on foreign intrusion: the creation of imagery, often as an essential feature of a poetic argument, and the tropes of semantic transfer - metaphor, metonymy, synecdoche - were frequently deployed through common words. In fact no words were too prosaic to appear in even the highest poetic contexts, always assuming their metricality. -
The English Renaissance in Context: Looking at Older Books
The English Renaissance in Context: Looking at Older Books The History of the Book Books from the 16th and 17th centuries are both quite similar to and different from books today. The similarities include such things as use of the Codex format, general page layouts, use of title pages, etc. The codex book has been around for a long time. Its roots go back to the age of Cicero, though it only comes into more general use with the spread of Christianity throughout the later Roman Empire in the 4th and 5th centuries CE. Since then, the codex book has undergone a long and gradual evolution during which time the book, its properties, and characteristics became firmly embedded in Western consciousness. Roughly speaking, the general layout of the page that we use today came into existence in the 13th century, with the rise of the universities and the creation of books for study. It is possible, for example, to look at a page in a medieval manuscript and experience a general orientation to it, even if you cannot actually read the text. The evolution of the book, we emphasize, was slow. Such conventions as pagination, title pages, foot or endnotes, tables of contents, indices, et alia are by and large relatively recent additions. We take these features for granted; but prior to the age of Gutenberg, they are hard to find. University of Pennsylvania Libraries - 1 - Furness Shakespeare Collection The English Renaissance in Context: Looking at Older Books Renaissance books can certainly look very different from books today. They exhibit a variety and diversity that have long since been standardized and homogenized. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
Masteroppgave I Historie
Fra Ticinus til Zama Scipio Africanus i den 2. puniske krig Vegard Johnsen Masteroppgave i historie Institutt for arkeologi, konservering og historie (IAKH) UNIVERSITETET I OSLO Vår 2010 Forord Jeg vil rette en stor takk til min veileder Knut Ødegård for all hjelp og tilbakemeldinger under arbeidet. Videre vil jeg takke mine medstudenter for et fabelaktig samhold, både på og utenfor Blindern. Takk også til alle venner utenfor Blindern. Stor takk til Ragnar Holst Larsen for hjelp med redigering. Sist, men ikke minst, en stor takk til mamma og pappa for all hjelp og støtte opp gjennom årene. Vegard Johnsen 5. mai, 2010 i ii Innholdsfortegnelse Forord.........................................................................................................................................i Innholdsfortegnelse .................................................................................................................iii Illustrasjoner............................................................................................................................. v Kilder og oversettelser ...........................................................................................................vii 1. Innledning. Presentasjon og problemstillinger.................................................................. 1 Struktur og metode ................................................................................................................. 2 Kilder.....................................................................................................................................