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Naming the Extrasolar Planets
Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named. -
Brutus, Cassius, Judas, and Cremutius Cordus: How
BRUTUS, CASSIUS, JUDAS, AND CREMUTIUS CORDUS: HOW SHIFTING PRECEDENTS ALLOWED THE LEX MAIESTATIS TO GROUP WRITERS WITH TRAITORS by Hunter Myers A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford, Mississippi May 2018 Approved by ______________________________ Advisor: Professor Molly Pasco-Pranger ______________________________ Reader: Professor John Lobur ______________________________ Reader: Professor Steven Skultety © 2018 Hunter Ross Myers ALL RIGHTS RESERVED ii ACKNOWLEDGMENTS Dr. Pasco-Pranger, For your wise advice and helpful guidance through the thesis process Dr. Lobur & Dr. Skultety, For your time reading my work My parents, Robin Myers and Tracy Myers For your calm nature and encouragement Sally-McDonnell Barksdale Honors College For an incredible undergraduate academic experience iii ABSTRACT In either 103 or 100 B.C., a concept known as Maiestas minuta populi Romani (diminution of the majesty of the Roman people) is invented by Saturninus to accompany charges of perduellio (treason). Just over a century later, this same law is used by Tiberius to criminalize behavior and speech that he found disrespectful. This thesis offers an answer to the question as to how the maiestas law evolved during the late republic and early empire to present the threat that it did to Tiberius’ political enemies. First, the application of Roman precedent in regards to judicial decisions will be examined, as it plays a guiding role in the transformation of the law. Next, I will discuss how the law was invented in the late republic, and increasingly used for autocratic purposes. The bulk of the thesis will focus on maiestas proceedings in Tacitus’ Annales, in which a total of ten men lose their lives. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
The Imperial Cult and the Individual
THE IMPERIAL CULT AND THE INDIVIDUAL: THE NEGOTIATION OF AUGUSTUS' PRIVATE WORSHIP DURING HIS LIFETIME AT ROME _______________________________________ A Dissertation presented to the Faculty of the Department of Ancient Mediterranean Studies at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by CLAIRE McGRAW Dr. Dennis Trout, Dissertation Supervisor MAY 2019 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE IMPERIAL CULT AND THE INDIVIDUAL: THE NEGOTIATION OF AUGUSTUS' PRIVATE WORSHIP DURING HIS LIFETIME AT ROME presented by Claire McGraw, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. _______________________________________________ Professor Dennis Trout _______________________________________________ Professor Anatole Mori _______________________________________________ Professor Raymond Marks _______________________________________________ Professor Marcello Mogetta _______________________________________________ Professor Sean Gurd DEDICATION There are many people who deserve to be mentioned here, and I hope I have not forgotten anyone. I must begin with my family, Tom, Michael, Lisa, and Mom. Their love and support throughout this entire process have meant so much to me. I dedicate this project to my Mom especially; I must acknowledge that nearly every good thing I know and good decision I’ve made is because of her. She has (literally and figuratively) pushed me to achieve this dream. Mom has been my rock, my wall to lean upon, every single day. I love you, Mom. Tom, Michael, and Lisa have been the best siblings and sister-in-law. Tom thinks what I do is cool, and that means the world to a little sister. -
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. -
Roman Britain in the Third Century AD
Roman Britain in the third century AD Despite Claudius’s invasion of Britain in AD 43, the population was still largely British with the local administrative capital at Venta Belgarum - now Winchester. By the 3rd century there was political unrest across the Roman Empire, with a rapid succession of rulers and usurpers. Some were in power for only a few months before being killed by rivals or during wars, or dying from disease. The situation became even more unstable in AD 260 when Postumus, who was Governor of Lower Germany, rebelled against the central rule of Rome and set up the breakaway Gallic Empire. For the next 14 years the Central and Gallic Empires were ruled separately and issued their own coinage. Despite the turmoil in the Empire as a whole, Britain appears to have experienced a period of peace and prosperity. More villas were built, for example, and there is little evidence of the barbarian raids that ravaged other parts of the Empire. Map showing the Gallic and Central Empires, courtesy of Merritt Cartographic 1 The Boldre Hoard The Boldre Hoard contains 1,608 coins, dating from AD 249 to 276 and issued by 12 different emperors. The coins are all radiates, so-called because of the radiate crown worn by the emperors they depict. Although silver, the coins contain so little of that metal (sometimes only 1%) that they appear bronze. Many of the coins in the Boldre Hoard are extremely common, but some unusual examples are also present. There are three coins of Marius, for example, which are scarce in Britain as he ruled the Gallic Empire for just 12 weeks in AD 269. -
Julius Caesar
Assessing representations of the imperial cult in New Testament studies Pieter J J Botha (University of South Africa) ABSTRACT Assessing representations of the imperial cult in New Testament studies A distinct conceptualisation of the imperial cult is common in NT scholar- ship, in which worship of the emperor is portrayed as a “foreign” deve- lopment which served primarily political aims, with little integrity and no serious religious significance. This depiction does not do justice to the evidence and is basically ethnocentric. That the imperial cult provides us with a crucial window on the mentality of the Roman Period comes closer to the truth. A few aspects of early Christian literature and history which might be reinterpreted in the light of a more comprehensive understanding of the imperial cult are briefly noted. 1 INTRODUCTION We cannot possibly understand the words and actions of other people if we examine them with our preconceptions; the interpretation of their beha- viour and texts must be in the light of their motives, convictions and out- look. The world of the Roman empire, of which the New Testament docu- ments and the earliest Christians are part, was a very different cultural world from ours and in many ways quite difficult to access. Though the principle of cultural embeddedness is generally acknow- ledged as important in exegesis and hermeneutics, in practice it is rather challenging to give it its due. Explicitly or implicitly, ethnocentricism keeps on raising its head. I wish to deal with this problem by adopting a stance of pluralism which leads to critical understanding; a pluralist who believes that understanding is real: “I have tried to argue not from abstractions about the universe but from the facts of our lives as critics, facts which turn out to be values we share with, and derive from, a human critical life that predates and nourishes the life of literature and criticism. -
Garland County Master Gardener Newsletter
May 2017 President’s Corner Some fun facts for May: 1. The month of May was named for Maia, the Greek goddess of fertility. 2. May's birthstone is the emerald which is emblematic of love and success. 3. In any given year, no month ever begins or ends on the same day of the week as May does. 4. May was once considered a bad luck month to get married. There is a poem that says "Marry in May and you'll rue the day". 5. The United Kingdom celebrates May as the National Smile Month. 6. On May 1, 1931, the Empire State Building was officially opened. 7. Lastly, May is Asparagus month and it's lean, mean and green. Claudette Cooper Garland County MGs will meet in Hot Springs Village for garden tours on Thursday, May Extension Office 18, 2017, from 10am – 1pm. Tell the gatekeeper at the EAST GATE 236 Woodbine (off of Hwy 5) that you are with the MG Garden Tour for entrance. Hot Springs AR 71901 Signs will direct you along the way. 501-623-6841 or 501-623-5756 Website: uaex.edu/garland Email: [email protected] The University of Arkansas Division of Agriculture is an equal opportunity/equal access/affirmative action institution. If you require a reasonable accommodation to 2017 Master Gardener Officers and Contact Numbers participate or need materials Claudette Cooper – President – 310-251-6383 [email protected] in another format, please Debbie Atchison – 1st Vice President – 922-7670 [email protected] contact your County Jan Hodges – 2nd Vice President – 622-0564 [email protected] Extension office (or other appropriate office) as soon as Nancy Morris – Secretary – 952-4913 [email protected] possible. -
Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century Bce
ARCHAEOLOGICAL AND LITERARY ETRUSCANS: CONSTRUCTIONS OF ETRUSCAN IDENTITY IN THE FIRST CENTURY BCE John B. Beeby A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2019 Approved by: James B. Rives Jennifer Gates-Foster Luca Grillo Carrie Murray James O’Hara © 2019 John B. Beeby ALL RIGHTS RESERVED ii ABSTRACT John B. Beeby: Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century BCE (Under the direction of James B. Rives) This dissertation examines the construction and negotiation of Etruscan ethnic identity in the first century BCE using both archaeological and literary evidence. Earlier scholars maintained that the first century BCE witnessed the final decline of Etruscan civilization, the demise of their language, the end of Etruscan history, and the disappearance of true Etruscan identity. They saw these changes as the result of Romanization, a one-sided and therefore simple process. This dissertation shows that the changes occurring in Etruria during the first century BCE were instead complex and non-linear. Detailed analyses of both literary and archaeological evidence for Etruscans in the first century BCE show that there was a lively, ongoing discourse between and among Etruscans and non-Etruscans about the place of Etruscans in ancient society. My method musters evidence from Late Etruscan family tombs of Perugia, Vergil’s Aeneid, and Books 1-5 of Livy’s history. Chapter 1 introduces the topic of ethnicity in general and as it relates specifically to the study of material remains and literary criticism. -
Aristocratic Identities in the Roman Senate from the Social War to the Flavian Dynasty
Aristocratic Identities in the Roman Senate From the Social War to the Flavian Dynasty By Jessica J. Stephens A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Greek and Roman History) in the University of Michigan 2016 Doctoral Committee: Professor David Potter, chair Professor Bruce W. Frier Professor Richard Janko Professor Nicola Terrenato [Type text] [Type text] © Jessica J. Stephens 2016 Dedication To those of us who do not hesitate to take the long and winding road, who are stars in someone else’s sky, and who walk the hillside in the sweet summer sun. ii [Type text] [Type text] Acknowledgements I owe my deep gratitude to many people whose intellectual, emotional, and financial support made my journey possible. Without Dr. T., Eric, Jay, and Maryanne, my academic career would have never begun and I will forever be grateful for the opportunities they gave me. At Michigan, guidance in negotiating the administrative side of the PhD given by Kathleen and Michelle has been invaluable, and I have treasured the conversations I have had with them and Terre, Diana, and Molly about gardening and travelling. The network of gardeners at Project Grow has provided me with hundreds of hours of joy and a respite from the stress of the academy. I owe many thanks to my fellow graduate students, not only for attending the brown bags and Three Field Talks I gave that helped shape this project, but also for their astute feedback, wonderful camaraderie, and constant support over our many years together. Due particular recognition for reading chapters, lengthy discussions, office friendships, and hours of good company are the following: Michael McOsker, Karen Acton, Beth Platte, Trevor Kilgore, Patrick Parker, Anna Whittington, Gene Cassedy, Ryan Hughes, Ananda Burra, Tim Hart, Matt Naglak, Garrett Ryan, and Ellen Cole Lee. -
Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject. -
Reading Death in Ancient Rome
Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.