Ancient Rome Vocabulary List - All Entries Pertain Directly to Artifacts Or Signs in Our Exhibits

Total Page：16

File Type：pdf, Size：1020Kb

Museum of World Treasures Ancient Rome Vocabulary List - All entries pertain directly to artifacts or signs in our exhibits. Etruscan- The ancient civilization of Italy that pre-dates the Roman empire. Majorly influenced the Romans. Tumuli- an artificial mound of stones or other materials over a grave. Aqueduct- derived from the Latin words aqua (water) and ducere (to lead), aqueducts were built to direct water sources to places inhabited by people. Roman Numerals- the ancient numeric system using Latin letters to make numbers. Pan- god of nature, the wind, shepherds, flocks, and goats. Often represented as a half goat half man. Isis- an Egyptian goddess of fertility, magic, and motherhood who was also worshiped in the Greek and Roman empires. Jupiter- Roman king of the gods and god of sky and thunder. Venus- ancient goddess of gardens, spring, love, and beauty. Dionysius- god of grapes, wine, celebrations, and pleasure. Medusa- the only mortal of the three Gorgons. A snake-headed, hideous monster that could turn a person to stone just by looking at them. Slain by Perseus in Greek mythology. Gladiator- an armed fighter made to battle animals and other people for entertainment purposes in an arena. Oftentimes gladiators were slaves, but sometimes they were volunteers. Nike – (also called Victoria in Roman mythology). Goddess of victory. Lapis Lazuli- usually called “sapphirus” in Rome, Lapis Lazuli is a deep-blue mineral that was highly treasured as a trade good. Mosaic- Romans used mosaics for floors, wall hangings, art, and more. They used materials like glass, stone, and ceramic to create their intricate and highly praised mosaics. Togatus- A sculpture of a civilian in a toga. Roman Empire- the lands and peoples subject to the authority of ancient Rome. This document was created with Win2PDF available at http://www.win2pdf.com. The unregistered version of Win2PDF is for evaluation or non-commercial use only. This page will not be added after purchasing Win2PDF..

Copy Link

Recommended publications

The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century.
[Show full text]
Transantiquity
TransAntiquity TransAntiquity explores transgender practices, in particular cross-dressing, and their literary and figurative representations in antiquity. It offers a ground-breaking study of cross-dressing, both the social practice and its conceptualization, and its interaction with normative prescriptions on gender and sexuality in the ancient Mediterranean world. Special attention is paid to the reactions of the societies of the time, the impact transgender practices had on individuals’ symbolic and social capital, as well as the reactions of institutionalized power and the juridical systems. The variety of subjects and approaches demonstrates just how complex and widespread “transgender dynamics” were in antiquity. Domitilla Campanile (PhD 1992) is Associate Professor of Roman History at the University of Pisa, Italy. Filippo Carlà-Uhink is Lecturer in Classics and Ancient History at the University of Exeter, UK. After studying in Turin and Udine, he worked as a lecturer at the University of Heidelberg, Germany, and as Assistant Professor for Cultural History of Antiquity at the University of Mainz, Germany. Margherita Facella is Associate Professor of Greek History at the University of Pisa, Italy. She was Visiting Associate Professor at Northwestern University, USA, and a Research Fellow of the Alexander von Humboldt Foundation at the University of Münster, Germany. Routledge monographs in classical studies Menander in Contexts Athens Transformed, 404–262 BC Edited by Alan H. Sommerstein From popular sovereignty to the dominion
[Show full text]
Clifford Ando Department of Classics 1115 East 58Th Street
Clifford Ando Department of Classics 1115 East 58th Street Chicago, IL 60637 Phone: 773.834.6708 [email protected] September 2020 CURRENT POSITION • David B. and Clara E. Stern Distinguished Service Professor; Professor of Classics, History and in the College, University of Chicago • Chair, Department of Classics, University of Chicago (2017–2020, 2021-2024) EDITORIAL ACTIVITY • Series editor, Empire and After. University of Pennsylvania Press • Senior Editor, Bryn Mawr Classical Review • Editor, Know: A Journal on the Formation of Knowledge • Editorial Board, Classical Philology • Editorial Board, The History and Theory of International Law, Oxford University Press • Editorial Board, Critical Analysis of Law • Editorial Board, L'Homme. Revue française d'anthropologie • Correspondant à l'étranger, Revue de l'histoire des religions EDUCATION • Ph.D., Classical Studies. University of Michigan, 1996 • B.A., Classics, summa cum laude. Princeton University, 1990 PRIZES, AWARDS AND NAMED LECTURES • Edmund G. Berry Lecture, University of Manitoba, 2018 • Sackler Lecturer, Mortimer and Raymond Sackler Institute of Advanced Studies, Tel Aviv University, 2017/2018 • Humanities Center Distinguished Visiting Scholar, University of Tennessee, 2017 • Elizabeth Battelle Clarke Legal History Colloquium, Boston University School of Law, 2017 • Maestro Lectures 2015, Academia Sinica, Taipei, Taiwan • Harry Carroll Lecture, Pomona College, March 2015 • Lucy Shoe Merritt Scholar in Residence, American Academy in Rome, 2014-2015 • Friedrich Wilhelm
[Show full text]
Roman Mythology Table of Contents
Roman Mythology Table of Contents • Historical Overview • Major Gods and Goddesses of ancient Rome • Gods of Mt Olympus • Family Tree • Conclusion Historical Overview • The early Romans were farmers • They did not understand science, instead they believed in forces or spirits • These Gods did not have human forms or minds • Gradually the Romans were influenced by the Greeks and adopted many of their Gods and gave them Roman names Early Roman Gods and Goddesses • Some Early Roman Gods or “Numen” – Bellona Goddess of War – Cardea similar to Artemis, had power over doorways – Cupid God of love like the Greek Eros – Dis God of the underworld like the Greek Hades – Faunus God of fields and shepards like the Greek Pan – Glaucus God of the sea – Lares God of the household- represented dead ancestors who protected the family – Liber God of fertility, identified with Baccus, the god of wine – Saturn God of agriculture and the Roman like the Greek Cronus – Vesta Goddess of home and hearth similar to the Greek Hestia Jupiter • King of the Gods/Ruler of the Skies • Greek name is Zeus • Married to Juno • Symbols: Eagle, Shield, Thunderbolt and Oak Tree Neptune • God of the Sea • Second most powerful God on Mt.Olympus • Greek name is Poseidon • Symbols: Trident, Horse and Bull Pluto • God the under world and wealth • Greek name is Hades • Symbols: Helmet, Metals, Jewels Juno • Queen of the Gods • Goddess of Heaven, Marriage and Childbirth • Greek name is Hera • Married to Jupiter • Symbols: Peacock and Cow Vesta • Goddess of the Hearth. Protector of
[Show full text]
Ovid's Metamorphoses Translated by Anthony S. Kline1
OVID'S METAMORPHOSES TRANSLATED BY 1 ANTHONY S. KLINE EDITED, COMPILED, AND ANNOTATED BY RHONDA L. KELLEY Figure 1 J. M. W. Turner, Ovid Banished from Rome, 1838. 1 http://ovid.lib.virginia.edu/trans/Ovhome.htm#askline; the footnotes are the editor’s unless otherwise indicated; for clarity’s sake, all names have been standardized. The Metamorphoses by the Roman poet Publius Ovidius Naso (Ovid) was published in 8 C.E., the same year Ovid was banished from Rome by Caesar Augustus. The exact circumstances surrounding Ovid’s exile are a literary mystery. Ovid himself claimed that he was exiled for “a poem and a mistake,” but he did not name the poem or describe the mistake beyond saying that he saw something, the significance of which went unnoticed by him at the time he saw it. Though Ovid had written some very scandalous poems, it is entirely possible that this satirical epic poem was the reason Augustus finally decided to get rid of the man who openly criticized him and flouted his moral reforms. In the Metamorphoses Ovid recounts stories of transformation, beginning with the creation of the world and extending into his own lifetime. It is in some ways, Ovid’s answer to Virgil’s deeply patriotic epic, The Aeneid, which Augustus himself had commissioned. Ovid’s masterpiece is the epic Augustus did not ask for and probably did not want. It is an ambitious, humorous, irreverent romp through the myths and legends and even the history of Greece and Rome. This anthology presents Books I and II in their entirety.
[Show full text]
Greek and Roman Mythology
Mythology What is a myth? A traditional story used to explain beliefs about the world Uses the supernatural to interpret natural events The Greeks used myths and the gods/goddesses to explain almost everything Myths often include Gods/Godesses, Monsters, and Human Heroes The Titans (The Elder Gods) There were many of them. Enormous size, incredible strength Cronos: Ruler of the titans Rhea: Wife of Cronos The Olympian Gods These gods were said to live on Cronos and Rhea Mount Olympus were parents of – Zeus (Jupiter, Jove) – Poseidon (Neptune) – Hades (Pluto) – Hera (Juno) – Demeter (Ceres) Zeus Roman Name: Jupiter Supreme god of the Olympians. Fathered many characters in mythology Hera Roman Name: Juno Zeus’s sister and wife Jealous Punished the women Zeus fell in love with Poseidon Roman Name: Neptune God of the Seas and Waters “The Earthshaker” Hades Roman Name: Pluto God of the Underworld/ Dead Kidnapped Persephone Demeter Roman Name: Ceres Goddess of the Earth and Harvest Athena Roman Name: Minerva Goddess of Wisdom and War Sprang from Zeus’s head Ares Roman Name: Mars God of War Son of Zeus and Hera Bloodthirsty and merciless Hephaestus Roman Name: Vulcan God of Fire/Forge Son of Zeus and Hera Kind, unlike his brother Apollo Roman Name: Apollo God of Light/Sun and Music Brother of Artemis Artemis Roman Name: Diana Goddess of the Moon/ Hunt Sister to Apollo Hermes Roman Name: Mercury Messenger of the Gods Appears in more myths than any other character Son of Zeus and Maia Aphrodite Roman Name: Venus Goddess of Love and Beauty Daughter of Zeus and Dione Dionysus Roman Name: Bacchus God of Wine and theater Son of Zeus and Senele Eros Roman Name: Cupid Young God of Love Son of Aphrodite and Hephaestus Creatures of Mythology Satyrs~Gods of the Gorgons~ snake woods and haired monsters.
[Show full text]
Classical Mythology in the Victorian Popular Theatre Edith Hall
Pre-print of Hall, E. in International Journal of the Classical Tradition, (1998). Classical Mythology in the Victorian Popular Theatre Edith Hall Introduction: Classics and Class Several important books published over the last few decades have illuminated the diversity of ways in which educated nineteenth-century Britons used ancient Greece and Rome in their art, architecture, philosophy, political theory, poetry, and fiction. The picture has been augmented by Christopher Stray’s study of the history of classical education in Britain, in which he systematically demonstrates that however diverse the elite’s responses to the Greeks and Romans during this period, knowledge of the classical languages served to create and maintain class divisions and effectively to exclude women and working-class men from access to the professions and the upper levels of the civil service. This opens up the question of the extent to which people with little or no education in the classical languages knew about the cultures of ancient Greece and Rome. One of the most important aspects of the burlesques of Greek drama to which the argument turned towards the end of the previous chapter is their evidential value in terms of the access to classical culture available in the mid-nineteenth century to working- and lower- middle-class people, of both sexes, who had little or no formal training in Latin or Greek. For the burlesque theatre offered an exciting medium through which Londoners—and the large proportion of the audiences at London theatres who travelled in from the provinces—could appreciate classical material. Burlesque was a distinctive theatrical genre which provided entertaining semi-musical travesties of well-known texts and stories, from Greek tragedy and Ovid to Shakespeare and the Arabian Nights, between approximately the 1830s and the 1870s.
[Show full text]
Storytelling Through Roman Mythology and the Science of Your Neighborhood
Storytelling through Roman Mythology and the Science of Your Neighborhood Collector’s Chest, ca. 1570 Wenzel Jamnitzer Germany (Nuremburg) Silver gilt, ebony, lapis lazuli, feldspar, bloodstone, amethyst, quartz, and gold enamel Loyola University Museum of Art, Gift of the Abbie Norman Prince Trust, the Frederick Henry Prince Trust, and friends of the Martin D’Arcy Gallery, 1978-09 Grades: 5 – 9 Subjects: English Language Arts, Science, Social Science, Fine Arts, Foreign Languages Time Required: 2 – 4 class periods, 45 minutes each Author: Written by Carolyn Ziembo, with contributions by Susan Friel, and edited by Jonathan Canning, Ann Meehan, and Molly Tarbell Lesson Overview Students will learn that during the Baroque age (ca. 17th century), collecting became a mania. People gathered both natural (leaves, insects, rocks, fossils) and artificial (mechanical toys, scientific instruments) curiosities. They will discover that this chest is decorated with luxurious embellishments and figures from Roman mythology. In the first activity, students will learn about Roman mythology, including some of the figures on LUMA’s Collector’s Chest. They will write short skits involving these gods and goddesses and then will act them out. In the second activity, students will look around their neighborhoods to see what they can learn about the natural world in which they live. They will collect leaves, flowers, rocks, and insects and identify them through research. In the third activity they will create a miniature museum exhibition of their precious objects. © 2010 Loyola University Museum of Art Materials - Reproduction of the Collector’s Chest (http://www.luc.edu/luma/collections/collection_details/collectors_chect.html) - Paper and pencils - Computer with internet access - Assortment of small boxes Lesson Steps 1.
[Show full text]
New Latin Grammar
NEW LATIN GRAMMAR BY CHARLES E. BENNETT Goldwin Smith Professor of Latin in Cornell University Quicquid praecipies, esto brevis, ut cito dicta Percipiant animi dociles teneantque fideles: Omne supervacuum pleno de pectore manat. —HORACE, Ars Poetica. COPYRIGHT, 1895; 1908; 1918 BY CHARLES E. BENNETT PREFACE. The present work is a revision of that published in 1908. No radical alterations have been introduced, although a number of minor changes will be noted. I have added an Introduction on the origin and development of the Latin language, which it is hoped will prove interesting and instructive to the more ambitious pupil. At the end of the book will be found an Index to the Sources of the Illustrative Examples cited in the Syntax. C.E.B. ITHACA, NEW YORK, May 4, 1918 PREFACE TO THE SECOND EDITION. The present book is a revision of my Latin Grammar originally published in 1895. Wherever greater accuracy or precision of statement seemed possible, I have endeavored to secure this. The rules for syllable division have been changed and made to conform to the prevailing practice of the Romans themselves. In the Perfect Subjunctive Active, the endings -īs, -īmus, -ītis are now marked long. The theory of vowel length before the suffixes -gnus, -gna, -gnum, and also before j, has been discarded. In the Syntax I have recognized a special category of Ablative of Association, and have abandoned the original doctrine as to the force of tenses in the Prohibitive. Apart from the foregoing, only minor and unessential modifications have been introduced. In its main lines the work remains unchanged.
[Show full text]
3274 Myths and Legends of Ancient Rome
MYTHS AND LEGENDS OF ANCIENT ROME CFE 3274V OPEN CAPTIONED UNITED LEARNING INC. 1996 Grade Levels: 6-10 20 minutes 1 Instructional Graphic Enclosed DESCRIPTION Explores the legend of Romulus and Remus, twin boys who founded Rome on seven hills. Briefly relates how Perseus, son of Jupiter, used his shield as a mirror to safely slay Medusa, a monster who turned anyone who looked on her to stone. Recounts the story of Psyche and Cupid, a story of broken promises and forgiveness. Each legend ends with discussion questions. Animated. INSTRUCTIONAL GOALS · To depict three Roman myths. · To enhance a unit on Roman mythology. · To show how the Romans explained natural phenomena and human behavior. · To show that human nature remains the same throughout the ages. BEFORE SHOWING 1. Read the CAPTION SCRIPT to determine unfamiliar vocabulary and language concepts. 2. Discuss the concept of myths: a. As a way of explaining and rationalizing natural phenomena. b. As stories of the heroic deeds and adventures of mortals with semidivine parentage. c. As stories of a large family of quarrelsome gods and goddesses. 3. Explain that the video shows three different Roman myths. a. Using a time line, explain that Roman mythology appeared after Greek mythology. b. Display a list of gods and goddesses and their Roman and Greek names. c. Explain there are many variations of the same myths. 4. Display a family tree of the Roman gods and goddesses. 1 a. Include pictures of monsters such as Medusa and Cerberus. b. Refer to the tree as characters appear in the video.
[Show full text]
The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.
[Show full text]
Virgil's Aeneid
V1.0 / By Greeny Virgil’s Aeneid Jumpchain “I sing of arms and the man...” Welcome jumper, to one of the great cornerstones of Western literature, The crowning glory of Rome, an epic that has echoed throughout the ages, the tale of Aeneas, the Trojan who was to begin the undying destiny of Rome. If this all sounds a little pompous, well I’m afraid that just comes with the territory. You’ll be entering the world of Virgil, with his colourful adaptations and reinterpretations of Greek mythology, all serving to espouse the eternal glory of the Roman empire. You will begin at the end of the Trojan War, while Aeneas and his family are fleeing at the behest of the gods, unknowingly destined for greater things. At the same time, far to the West, Dido will be founding the colony of Carthage, and in Italy the Latins will be living a peaceful existence, ignorant of the war that will soon rock their shores. Unburdened by fate, it will be up to you to decide your destiny in this relentlessly Roman world. Perhaps these will help you on your journey: 1000 Denarii Location Before the epic of Jumper can get going, we must first set the scene. You may choose freely from any of the following locations. Troy Perhaps not the best time to be here, Jumper. The Greeks have just left an enormous wooden horse outside the gates in honour of Athene, and the Trojans have wheeled it in to the city, under the artful deceptions of Sinon. Already as you arrive, the first Greeks will be pouring out the ship under cover of night.
[Show full text]