The Walls of the Romans: Boundaries and Limits in the Republic
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Augustine and the Art of Ruling in the Carolingian Imperial Period
Augustine and the Art of Ruling in the Carolingian Imperial Period This volume is an investigation of how Augustine was received in the Carolingian period, and the elements of his thought which had an impact on Carolingian ideas of ‘state’, rulership and ethics. It focuses on Alcuin of York and Hincmar of Rheims, authors and political advisers to Charlemagne and to Charles the Bald, respectively. It examines how they used Augustinian political thought and ethics, as manifested in the De civitate Dei, to give more weight to their advice. A comparative approach sheds light on the differences between Charlemagne’s reign and that of his grandson. It scrutinizes Alcuin’s and Hincmar’s discussions of empire, rulership and the moral conduct of political agents during which both drew on the De civitate Dei, although each came away with a different understanding. By means of a philological–historical approach, the book offers a deeper reading and treats the Latin texts as political discourses defined by content and language. Sophia Moesch is currently an SNSF-funded postdoctoral fellow at the University of Oxford, working on a project entitled ‘Developing Principles of Good Govern- ance: Latin and Greek Political Advice during the Carolingian and Macedonian Reforms’. She completed her PhD in History at King’s College London. Augustine and the Art of Ruling in the Carolingian Imperial Period Political Discourse in Alcuin of York and Hincmar of Rheims Sophia Moesch First published 2020 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business Published with the support of the Swiss National Science Foundation. -
Reading for Monday 4/23/12 History of Rome You Will Find in This Packet
Reading for Monday 4/23/12 A e History of Rome A You will find in this packet three different readings. 1) Augustus’ autobiography. which he had posted for all to read at the end of his life: the Res Gestae (“Deeds Accomplished”). 2) A few passages from Vergil’s Aeneid (the epic telling the story of Aeneas’ escape from Troy and journey West to found Rome. The passages from the Aeneid are A) prophecy of the glory of Rome told by Jupiter to Venus (Aeneas’ mother). B) A depiction of the prophetic scenes engraved on Aeneas’ shield by the god Vulcan. The most important part of this passage to read is the depiction of the Battle of Actium as portrayed on Aeneas’ shield. (I’ve marked the beginning of this bit on your handout). Of course Aeneas has no idea what is pictured because it is a scene from the future... Take a moment to consider how the Battle of Actium is portrayed by Vergil in this scene! C) In this scene, Aeneas goes down to the Underworld to see his father, Anchises, who has died. While there, Aeneas sees the pool of Romans waiting to be born. Anchises speaks and tells Aeneas about all of his descendants, pointing each of them out as they wait in line for their birth. 3) A passage from Horace’s “Song of the New Age”: Carmen Saeculare Important questions to ask yourself: Is this poetry propaganda? What do you take away about how Augustus wanted to be viewed, and what were some of the key themes that the poets keep repeating about Augustus or this new Golden Age? Le’,s The Au,qustan Age 195. -
Domitian's Arae Incendii Neroniani in New Flavian Rome
Rising from the Ashes: Domitian’s Arae Incendii Neroniani in New Flavian Rome Lea K. Cline In the August 1888 edition of the Notizie degli Scavi, profes- on a base of two steps; it is a long, solid rectangle, 6.25 m sors Guliermo Gatti and Rodolfo Lanciani announced the deep, 3.25 m wide, and 1.26 m high (lacking its crown). rediscovery of a Domitianic altar on the Quirinal hill during These dimensions make it the second largest public altar to the construction of the Casa Reale (Figures 1 and 2).1 This survive in the ancient capital. Built of travertine and revet- altar, found in situ on the southeast side of the Alta Semita ted in marble, this altar lacks sculptural decoration. Only its (an important northern thoroughfare) adjacent to the church inscription identifies it as an Ara Incendii Neroniani, an altar of San Andrea al Quirinale, was not unknown to scholars.2 erected in fulfillment of a vow made after the great fire of The site was discovered, but not excavated, in 1644 when Nero (A.D. 64).7 Pope Urban VIII (Maffeo Barberini) and Gianlorenzo Bernini Archaeological evidence attests to two other altars, laid the foundations of San Andrea al Quirinale; at that time, bearing identical inscriptions, excavated in the sixteenth the inscription was removed to the Vatican, and then the and seventeenth centuries; the Ara Incendii Neroniani found altar was essentially forgotten.3 Lanciani’s notes from May on the Quirinal was the last of the three to be discovered.8 22, 1889, describe a fairly intact structure—a travertine block Little is known of the two other altars; one, presumably altar with remnants of a marble base molding on two sides.4 found on the Vatican plain, was reportedly used as building Although the altar’s inscription was not in situ, Lanciani refers material for the basilica of St. -
Narratology and the End of Monarchy in AVC 1
Luke Patient Classics Department [email protected] University of Arizona Narratology and the End of Monarchy in AVC 1 I. The section of the narrative text to be considered ( AVC 1.59.1, 6-11): 1. Brutus illis luctu occupatis cultrum ex volnere Lucretiae extractum, manantem cruore prae se tenens, "Per hunc" inquit "castissimum ante regiam iniuriam sanguinem iuro, vosque, di, testes facio me L. Tarquinium Superbum cum scelerata coniuge et omni liberorum stirpe ferro igni quacumque dehinc vi possim exsecuturum, nec illos nec alium quemquam regnare Romae passurum." … Vbi eo ventum est, quacumque incedit armata multitudo, pavorem ac tumultum facit; rursus ubi anteire primores civitatis vident, quidquid sit haud temere esse rentur. Nec minorem motum animorum Romae tam atrox res facit quam Collatiae fecerat; ergo ex omnibus locis urbis in forum curritur. Quo simul ventum est, praeco ad tribunum celerum, in quo tum magistratu forte Brutus erat, populum advocavit. Ibi oratio habita nequaquam eius pectoris ingeniique quod simulatum ad eam diem fuerat, de vi ac libidine Sex. Tarquini, de stupro infando Lucretiae et miserabili caede, de orbitate Tricipitini cui morte filiae causa mortis indignior ac miserabilior esset. Addita superbia ipsius regis miseriaeque et labores plebis in fossas cloacasque exhauriendas demersae; Romanos homines, victores omnium circa populorum, opifices ac lapicidas pro bellatoribus factos. Indigna Ser. Tulli regis memorata caedes et inuecta corpori patris nefando vehiculo filia, invocatique ultores parentum di. His atrocioribusque, credo, aliis, quae praesens rerum indignitas haudquaquam relatu scriptoribus facilia subicit, memoratis, incensam multitudinem perpulit ut imperium regi abrogaret exsulesque esse iuberet L. Tarquinium cum coniuge ac liberis. -
Art for the Court: a New Interpretation of Gerard De Lairesse's
TIM LUBBERS Art for the Court: A new interpretation of Gerard de Lairesse’s paintings for the Court of Appeal of Holland (1688-1689) Gerard de Lairesse (1640-1711), once one of the most popular Netherlandish painters, is little known today, largely as a consequence of the vilifijication to which he and his work were subjected in the nineteenth and early twentieth century.1 In recent years, happily, his oeuvre has experienced a revival, culminating in Eindelijk! De Lairesse in the Rijksmuseum Twente, the fijirst exhibition ever devoted to him.2 With his distinctive classicist style reflecting Raphael and French classicists like Nicolas Poussin (1594-1665), De Lairesse, who came from Luik, was a prominent fijigure in Netherlandish painting in the period of 1660-1690. In the sixteen-eighties, at the height of his career, he was awarded prestigious commissions by Stadholder William III of Orange (1650-1702), among them ceiling paintings and works for his private apartments in Soestdijk Palace, but he also worked for Amsterdam merchants and patricians like Philips de Flines (1640-1700) and Andries de Graafff (1611-1678). The loss of his sight at the end of 1689 meant that he could no longer paint, but he reinvented himself as a creditable art theoretician. Regrettably, the impressive classicist decorations De Lairesse made in 1688-1689 for the civil council chamber of the Court of Appeal of Holland, Zeeland and West-Friesland (the ‘Hof van Holland’) did not appear in the exhibition. Being one of his few cycles that are still in situ, in what is now known as the ‘Lairesse Room’ in the Dutch parliamentary buildings at the Binnenhof, they can be described as De Lairesse’s most prestigious commission (fijig. -
Ritual Cleaning-Up of the City: from the Lupercalia to the Argei*
RITUAL CLEANING-UP OF THE CITY: FROM THE LUPERCALIA TO THE ARGEI* This paper is not an analysis of the fine aspects of ritual, myth and ety- mology. I do not intend to guess the exact meaning of Luperci and Argei, or why the former sacrificed a dog and the latter were bound hand and foot. What I want to examine is the role of the festivals of the Lupercalia and the Argei in the functioning of the Roman community. The best-informed among ancient writers were convinced that these were purification cere- monies. I assume that the ancients knew what they were talking about and propose, first, to establish the nature of the ritual cleanliness of the city, and second, see by what techniques the two festivals achieved that goal. What, in the perception of the Romans themselves, normally made their city unclean? What were the ordinary, repetitive sources of pollution in pre-Imperial Rome, before the concept of the cura Urbis was refined? The answer to this is provided by taboos and restrictions on certain sub- stances, and also certain activities, in the City. First, there is a rule from the Twelve Tables with Cicero’s curiously anachronistic comment: «hominem mortuum», inquit lex in duodecim, «in urbe ne sepelito neve urito», credo vel propter ignis periculum (De leg. II 58). Secondly, we have the edict of the praetor L. Sentius C.f., known from three inscrip- tions dating from the beginning of the first century BC1: L. Sentius C. f. pr(aetor) de sen(atus) sent(entia) loca terminanda coer(avit). -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
University Microfilms International 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meaht to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
The Recollections of Encolpius
The Recollections of Encolpius ANCIENT NARRATIVE Supplementum 2 Editorial Board Maaike Zimmerman, University of Groningen Gareth Schmeling, University of Florida, Gainesville Heinz Hofmann, Universität Tübingen Stephen Harrison, Corpus Christi College, Oxford Costas Panayotakis (review editor), University of Glasgow Advisory Board Jean Alvares, Montclair State University Alain Billault, Université Jean Moulin, Lyon III Ewen Bowie, Corpus Christi College, Oxford Jan Bremmer, University of Groningen Ken Dowden, University of Birmingham Ben Hijmans, Emeritus of Classics, University of Groningen Ronald Hock, University of Southern California, Los Angeles Niklas Holzberg, Universität München Irene de Jong, University of Amsterdam Bernhard Kytzler, University of Natal, Durban John Morgan, University of Wales, Swansea Ruurd Nauta, University of Groningen Rudi van der Paardt, University of Leiden Costas Panayotakis, University of Glasgow Stelios Panayotakis, University of Groningen Judith Perkins, Saint Joseph College, West Hartford Bryan Reardon, Professor Emeritus of Classics, University of California, Irvine James Tatum, Dartmouth College, Hanover, New Hampshire Alfons Wouters, University of Leuven Subscriptions Barkhuis Publishing Zuurstukken 37 9761 KP Eelde the Netherlands Tel. +31 50 3080936 Fax +31 50 3080934 [email protected] www.ancientnarrative.com The Recollections of Encolpius The Satyrica of Petronius as Milesian Fiction Gottskálk Jensson BARKHUIS PUBLISHING & GRONINGEN UNIVERSITY LIBRARY GRONINGEN 2004 Bókin er tileinkuð -
The Development of the Early Christian Concept of Death and Burial Rites from Greco-Roman Culture
Philomathes The Development of the Early Christian Concept of Death and Burial Rites from Greco-Roman Culture In this paper I set out to describe both the general thoughts of death as well as the rites of burial, aspects both shared and unique to each, of the pagan religions of the Greeks and Romans and the monotheistic religion of early Christianity. I will also attempt to explain the reasoning behind the differences between these cultures, paying particularly close attention to the concept of death itself and its rituals. Using the evidence provided below, I propose that the changes in burial rites stemmed from Christianity’s removal of the fundamental concept of permanence in death. I. The Pagans1 Death, in much of the literature and artifacts of both the Greeks and the Romans, is described with one absolute trait: permanence. An individual could either be deified or he would eventually die. Many of their myths made that an understandable, yet depressing, fact of life. A very poignant example of this belief would be the story of Sisyphus. Sisyphus 1Since the beliefs concerning death for the Romans are similar to those of their Greek counterparts, I thought it appropriate to address them simultaneously, separating them when necessary in order to highlight the contrast between the very private nature of the Greek funeral when compared to the very public nature of the Roman funeral. Additionally, the descriptions of the rights of burial are kept to those most commonly practiced for the sake of a general comparison. For more detailed reviews on these concepts and rights, see D.C. -
An Encoded Saturnian Theme Peter Mark Adams
The Sola-Busca Tarocchi An Encoded Saturnian Theme Peter Mark Adams The Sola-Busca is a Ferrarese tarocchi produced at the court of the House of Este, Dukes of Ferrara, Reggio and Modena, and dating from 1491. It is the earliest complete deck of tarocchi cards in existence and its fine detail is attributable to its production from copper engraving plates. The Sola-Busca disguises its true import beneath historical narratives derived from Plutarch, Livy and the Alexander Romance literary tradition; but this carefully prepared ‘surface’ has been rendered unstable and polysemous by the systematic use of ambiguity in the spelling of names and the presence of symbolic counters that point towards deeper, occulted levels of meaning. Trump XVIII Lentulo depicts a figure placing a large, freestanding liturgical candle upon an altar with his left hand, whilst his right hand grips his beard. The figure is richly dressed in a long, single-piece gown whose opulence stands out amongst the austere military-style dress of the majority of trumps. The strange arrangement of the head covering is suggestive of an ancient cap known as a pilleus rather than hair. What does this attention grabbing display portend? In Book XIV of Martial’s Epigrams, On the Presents Made to Guests at Feasts, we learn, “Now, while the knights and the lordly senators delight in the festive robe (Latin: synthesibus), and the cap of liberty (Latin: pillea) is assumed by our Jupiter; and while the slave, as he rattles the dice-box, has no fear of the Aedile … what can I do better, Saturn, on these days of pleasure, which your son himself has consecrated to you”. -
Szöveg És Hagyomány I
SZÖVEG ÉS HAGYOMÁNY I. 2 SZÖVEG ÉS HAGYOMÁNY TANULMÁNYOK VÁLOGATÁS A X. MAGYAR ÓKORTUDOMÁNYI KONFERENCIÁN ELHANGZOTT DOKTORANDUSZ –ELŐADÁSOKBÓL I. szerkesztette TAKÁCS LÁSZLÓ PÁZMÁNY PÉTER KATOLIKUS EGYETEM BÖLCSÉSZET - ÉS TÁRSADALOMTUDOMÁNYI KAR PILISCSABA 2013 3 A kötet a TÁMOP-4.2.2/B-10/1-2010-0014, ’TEHETSÉGTÁ- MOGATÁS A PÁZMÁNY PÉTER KATOLIKUS EGYETEM KILENC TUDOMÁNYÁGÁBAN’ című projekt támogatásával valósult meg. ISBN 978-963-308-043-6 Felelős kiaDó: Szuromi Szabolcs Anzelm PPKE BTK Klasszika–Filológia Tanszék © a szerzők, 2013 borító: Hollós János 4 TARTALOM LECTURIS SALUTEM 7 SOLYMOSI BENEDEK ΕΡΩΣ az Argonautika negyeDik könyvében: tragikus ihletés? 9 JÁRMI VIKTÓRIA A gens Fabia emlékezete: szöveg és hagyomány 35 TÉGLÁSY KATALIN Másképp monDott ima – egy exemplum háttere 49 5 LECTURIS SALUTEM 2012. május 23-a és 26-a közt került megrenDezésre a Pázmány Péter Katolikus Egyetem Klasszika–Filológia Tanszéke és az ÓkortuDományi Társaság Piliscsabai Tagszervezete szervezésé- ben a X. Magyar ÓkortuDományi Konferencia. Az első konfe- rencia óta eltelt két évtizeDben a renDezvény a hazai ókortu- Dományi kutatások bemutatásának legfontosabb fóruma lett, amelynek egyre nagyobb számban résztvevői a Doktori iskolák hallgatói. Ez a kis kötet a konferencián részt vett fiatal kutatók Dolgozataiból nyújt át válogatást. A tanulmányokat összekötő ka- pocs, hogy témájukban valamennyien a klasszikus antikvitáshoz kapcsolóDnak. A kötetben iroDalmi, történeti, tuDománytör- téneti, papirológiai, szöveghagyományozás-történeti tanulmányok kaptak helyet. E tematikai, móDszertani sokszínűség fontos jel- zése annak, mennyire szerteágazóak a hazai ókortuDományi kutatások, s hogy a bölcsészettuDományokat a haszontalanság pellengérére állító hamis vélekeDések s az ezek következtében az egyetemi oktatásban megfigyelhető szomorú hanyatlás ellenére is van olyan fiatal tuDósgeneráció, amely szívügyének tekinti, szereti és megérteni igyekszik minDannyiunk közös és gazDag örökségét, a klasszikus ókort.