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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 Attitude of Marcus Tullius Cicero to Greek Art*
Elżbieta Woźniak Uniwersytet Marii Curie-Skłodowskiej, Lublin THE ATTITUDE OF MARCUS TULLIUS CICERO TO GREEK ART* This great orator, philosopher, scholar and at the same time a statesman, is one of the best-known figures in the period of the Late Republic owing to the fortunate preservation of his rich and diverse works until the present time. That is why ancient historians refer to his testimony in many of their studies. When investigating the problems connected with the Late Republican art, it is essential that we focus attention on the views and attitude of this eminent representative of nobilitas towards Greek art. In his speeches, and oratorical and philosophical works Cicero reveals two somewhat different attitudes towards art. When he tries to be more of an advocate and moralist in the spirit of Roman traditionalism and practicalism, he shows detachment from the matters of art. For example, he finds it right to worship the statues built in memory of the citizens who served the Republic well1 but he adds that the works of painters and sculptors are not essential for the fame of eminent people2. In another work he says that equally unreasonable are those who delight too much in statutes, paintings, decorative silver articles, Corinthian vases, and sumptuous houses3, even if they wish to emphasize their dignity and position in the State in this way. At this point he points to L. Mummius, who scorned all of Corinth4. This statement requires an extensive comment: Mum- mius spurned the magnificent works of art from Corinth, having kept nothing for himself but bringing these spoils to Rome to adorn the temples and squares in the capital. -
The Birth of Territory
the birth of territory The Birth of Territory stuart elden the university of chicago press chicago and london Stuart Elden is professor of political theory and geography at the University of Warwick. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2013 by The University of Chicago All rights reserved. Published 2013. Printed in the United States of America 22 21 20 19 18 17 16 15 14 13 1 2 3 4 5 isbn-13: 978-0-226-20256-3 (cloth) isbn-13: 978-0-226-20257-0 (paper) isbn-13: 978-0-226-04128-5 (e-book) Library of Congress Cataloging-in-Publication Data Elden, Stuart, 1971- The birth of territory / Stuart Elden. pages. cm. Includes bibliographical references and index. isbn 978-0-226-20256-3 (cloth : alk. paper)—isbn 978-0-226-20257-0 (pbk. : alk. paper)—isbn 978-0-226-04128-5 (e-book) 1. Political geography. 2. Geography, Ancient. 3. Geography, Medieval. I. Title. jc319.e44 2013 320.1’2—dc23 2013005902 This paper meets the requirements of ansi/niso z39.48-1992 (Permanence of Paper). contents Acknowledgments ix Introduction 1 Part I 19 1. The Polis and the Khora 21 Autochthony and the Myth of Origins 21 Antigone and the Polis 26 The Reforms of Kleisthenes 31 Plato’s Laws 37 Aristotle’s Politics 42 Site and Community 47 2. From Urbis to Imperium 53 Caesar and the Terrain of War 55 Cicero and the Res Publica 60 The Historians: Sallust, Livy, Tacitus 67 Augustus and Imperium 75 The Limes of the Imperium 82 Part II 97 3. -
Ancient Art and Its Remains: Or a Manual of the Archaeology Of
2. - ANCIENT ART AND ITS REMAINS; MANUAL OF THE ARCHEOLOGY OF ART. BY C. 0. M"LLER, Author of " The Histovy and Antiquitiesof the Doric Race." " A Scientific S\-stem of Mvthologv,"'"Src iW EDITION -WITH Nl'MEROUS ADDITIONS BY F. (I.WELCKER. TRANSLATED FROM THE GERMAN BY JOHN LEITCH. LONDON: A. FULLARTON AND CO., NEWGATE STREET. 185U. kdinburgh: FCLLVRTOX AX,. MACNAB, PRIXTERS, LEITH WALK. DEDICATED THE RIGHT HOJiOURABLE SIR ROBERT PEEL, BART., M.P., SINCERE ADMIRATION HIS VIRTUES AND TALENTS, THE TRANSLATOR. 8530"6 TRANSLATOR'S PREFACE I have entleavoure"! to much In tlii" Translation avoid, as as pos-sible, the introduction of new words; but, in the original, various with technical terms occur, which, notwithstanding their novelty to the English reader, I could not dispense; because their rejection in sacrifice of would occasion, some measure, a sense, or a disturb-ance the of the system pursued by author, " as in Tectonics and A)'chitectonics for example. I may also mention the word scalpture. in in It is not, 1 believe, use our language, but as scalptiiradesignates branch of ancient I did hesitate a particular art, not to Anglicise it. It be also to that the may proper explain, throughout work a dis-tinction and is kept up between column jyillctr,the fonuer denoting the circular supporting member of the diflerent orders of architec-ture, the latter the square pier. The words formative and 2}iastic, convertible likewise, are employed as epithets, except in a few in-stances where the latter is used in its original and more restricted its sense; in these, however, meaning may be discovered from the context. -
The Cambridge Companion to Greek Mythology Edited by Roger D
Cambridge University Press 978-0-521-84520-5 — The Cambridge Companion to Greek Mythology Edited by Roger D. Woodard Index More Information Index S A Collection of Wonders from the Entire Admetus, 449 Earth Arranged by Locality, 238, 247 Adonis, 441, 450 A Common Chorus, 446 Adrastia, 232 A Streetcar Named Desire, 444 Adrastus, 337 A View from the Bridge, 444 adultery, 8, 362, 417 A Wonder Book, 11, 384 Aeacus, 215, 230, 232, 242 Abas, 373 Aeetes, 17, 18 Abdera, 216 Aegean Sea, 269–70, 279–80 Acarnania, 326 Aegeus, 26, 255, 257–8, 270, 273–4; see Accius, 83, 146, 355 also Aigeus Achaea, 280, 334 Aegeus, 194 Achaeans, 24, 37, 56–9, 61–2, 73, 78, Aegicores, 279 147, 191, 280, 335–6, 346–7; see also Aegids, 272–4 Achaians Aegina, 58, 349 Achaeus, 280 Aegipan, 98 Achaians, 458; see also Achaeans aegis, 146, 264, 269, 272, 385 Acharnians, 193, 199–200, 202, Aegisthus, 192 325 Aegyptus, 173 Achelous, 326 Aelius Theon, 356 Acheron, 319 , 322, 417 Aenea, 348 Achilles, 25, 31 , 33-8, 48, 54–9, 63–71, Aeneaden, 359 78–9, 81–2, 84, 91, 105, 123, 138, Aeneas, 91, 291, 347–8, 355–6, 359, 369, 147, 167, 169, 199, 201, 291, 296, 378–9, 417, 433 302, 31 0 , 323, 325, 335, 350, 359, 361, Aeneid, 346, 357–9, 379, 410, 413, 415, 404, 408, 433, 457–8, 460 417, 422 Acrisius, 331 Aeolians, 280 Acropolis, 203, 206, 258, 260, 280, 295, Aeolic (traditions, lands, etc.), 33–5, 38, 298–301, 313 , 315 , 338–41, 347 41, 48, 68, 83 Actaeon, 293, 366–7, 441 Aeolic meter, 275, 277; see also meter Actorione, 290 Aeolosicon, 194, 197 Acusilaus, 242, 244–5, 281 Aeolus, 197, 247, 280, 373 Ad Familiares, 246 Aeolus, 197 Adam Bede, 436 Aerope, 221 Addison, Joseph, 427, 435, 440, 444 Aeschylus, 19, 167, 172, 174–5, 178, 185, Adeimantus, 215 196, 204, 230, 336, 351, 430–1, 436–7, adharma, 129 440, 443–4 511 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84520-5 — The Cambridge Companion to Greek Mythology Edited by Roger D. -
Parthenios, Erotika Pathemata (20-36): a Commentary
PARTHENIOS, EROTIKA PATHEMATA (20-36): A COMMENTARY A Thesis Submitted for the Degree of Doctor of Philosophy of the University of London by Evangelia Astyrakaki Department of Greek and Latin University College London University of London 1998 ProQuest Number: 10610872 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10610872 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Z to v rarcepa p,oi) Mavo^ri, cttt| pjixepa h o d ZxeMxx K a i axr|v a5e^(prj jiod 'Etara y i a t t |v aaxeipeDxri ay&jrrj xoDq. 2 ABSTRACT Many scholars dispute as to what extent Parthenios was influential on Roman poets, but only a few focus on Parthenios per se. Thus, there is not yet an English detailed commentary on his prose work, the Erotika Pathemata. However, many reasons make this prose work interesting. Firstly, the work survives in a single manuscript, making thus a critical edition requiring a special attention. Secondly, the thirty-six stories of the Erotika Pathemata have been ‘de-hydrated’, since the collection was intended to be used as a model for poetry (primarily by Parthenios himself). -
Im Wettstreit Mit Apelles
ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Sitzungsberichte der philosophisch-historische Klasse der Bayerischen Akademie der Wissenschaften München Jahr/Year: 2015 Band/Volume: 2015 Autor(en)/Author(s): Steinhart Matthias Artikel/Article: Im Wettstreit mit Apelles. Archäologische Bemerkungen zur Konzeption von Giorgiones Tempesta 1-88 Philosophisch-historische Klasse Sitzungsberichte München 2015, Heft 2 Im Wettstreit mit Apelles Archäologische Bemerkungen zur Konzeption von Giorgiones Tempesta Matthias Steinhart Vorgetragen in der Sitzung vom 12. Dezember 2014 ISSN 0342 5991 ISBN 978 3 7696 1670 5 © Bayerische Akademie der Wissenschaften München, 2015 Satz/Layout: a.visus, München Druck und Bindung: Tutte Druckerei & Verlagsservice GmbH Vertrieb: Verlag C. H. Beck, München Gedruckt auf säurefreiem, alterungsbeständigem Papier (hergestellt aus chlorfrei gebleichtem Zellstoff) Printed in Germany www.badw.de www.badw.de/publikationen/index.html Inhaltsverzeichnis Vorwort .......................................................... 5 I. Giorgiones Tempesta. Zu Komposition und Deutung ........ 6 II. Giorgione und Apelles ......................................... 23 Exkurs Das Vorbild des Apelles: Holbein, Botticelli und Vasari ............ 50 Anhang Plinius über Apelles ............................................... 66 Quellen- und Literaturverzeichnis ................................ 75 Abbildungsnachweis ............................................ -
Trends in Classics
2014!·!VOLUME 6!· NUMBER 2 TRENDS IN CLASSICS EDITED BY Franco Montanari, Genova Antonios Rengakos, Thessaloniki SCIENTIFIC COMMITTEE Alberto Bernabé, Madrid Margarethe Billerbeck, Fribourg Claude Calame, EHESS, Paris Philip Hardie, Cambridge Stephen Harrison, Oxford Stephen Hinds, U of Washington, Seattle Richard Hunter, Cambridge Christina Kraus, Yale Giuseppe Mastromarco, Bari Gregory Nagy, Harvard Theodore D. Papanghelis, Thessaloniki Giusto Picone, Palermo Kurt Raaflaub, Brown University Bernhard Zimmermann, Freiburg Brought to you by | Staatsbibliothek zu Berlin Preussischer Kulturbesitz Authenticated Download Date | 11/7/14 11:19 PM ISSN 1866-7473 ∙ e-ISSN 1866-7481 All information regarding notes for contributors, subscriptions, Open access, back volumes and orders is available online at www.degruyter.com/tic Trends in Classics, a new journal and its accompanying series of Supplementary Volumes, will pub- lish innovative, interdisciplinary work which brings to the study of Greek and Latin texts the insights and methods of related disciplines such as narratology, intertextuality, reader-response criticism, and oral poetics. Trends in Classics will seek to publish research across the full range of classical antiquity. Submissions of manuscripts for the series and the journal are welcome to be sent directly to the editors: RESPONSIBLE EDITORS Prof. Franco Montanari, Università degli Studi di Genova, Italy. franco. [email protected], Prof. Antonios Rengakos, Aristotle University of Thessaloniki, Greece. [email protected] EDITORIAL -
Laocoon : an Essay on the Limits of Painting and Poetry
p LAOCOON. L A 0 C 0 0 N : THE LIMITS OF PAINTING AND POETRY. TRANSLATED FROM THE GERMAN OF GOTTHOLD EPHRAIM LESSING, \ BY E. C. BEASLEY, ONE OF THE TUTORS OF LEAMINGTON COLLEGE. WITH AN INTRODUCTION BY THE BEY. T. BUBBIDGE, L.L.H. MASTER OF LEAMINGTON COLLEGE. LONDON: LONGMAN, BROWN, GREEN, AND LONGMANS. EDINBURGH : BLACKWOOD AND SONS. OXFORD : F. MACPIIERSON. RUGBY: CROSSLEY AND BILLINGTON, M.DCCC.LIII. REREARCH LIBRARY The Translator cannot allow the present opportunity to pass without returning his sincere thanks to his friend and principal, Dr. Burbidge, not only for the preface he has written, but also for very kind assistance received in the re- vision and correction of the text. Digitized by the Internet Archive in 2016 https://archive.org/details/laocoonessayonliOOIess INTRODUCTION. The poles between which ./Esthetic criticism has always oscillated, and will continue to oscillate, are Eorm and Expression,—the objective and the subjec- tive truths involved in Art, as in every other produc- tion of the human mind. A very ingenious and eloquent writer of the present day has had weight enough (between his reason and his passion) to bring the balance far down in the latter direction : the more need therefore to bring forward an older writer, whose learning is as decidedly, though less vehe- mently, the other way. There is a use, however, to be served, by drawing notice, in the present state of things, to a writer of the former school, greater than the mere momentary dressing of a balance, never fated to maintain more than a momentary equilibrium. -
Painting Popularly Explained
/V2> " 1/35- THE D ELPHIC SIBYL, FROMHE T CEILING OF THE SISTINE CHAPEL, PAINTEDY B MICHAEL ANOELO. PAINTING POPULARLY E XPLAINED; INCLUDING Fresco, O il, Mosaic, Water-Colour, Water-Glass, T empera, Encaustic, Miniature, nPainting o Ivory, Vellum, Pottery, Porcelain, Enamel, Glass, &c. historical S luices of ijje |hogrcss of tlje 3Ltt. THOMAS J OHN GULLICK ASSISTEDY B "~ JOHN T IMBS, P.S.A. SECOND E DITION REVISED AND ENLARGED LONDON: L OCKWOOl) & CO., STATIONERS'-HALL COUKT. MDCCCLXIV. [ The right of tranrlatloti is reserved.] LONDOS nilNTED B Y SPOTTIfiWOODE AND CO. NEW-STREET RQUAttE A-22-33 PKEFACE. Numerous e loquent and also some ' dry-as-dust ' books have been written on the theory of painting. Modern German writers, more especially, have speculated very ingeniously, as well as very vaguely, upon the nature of those high faculties in man through which he derives pleasurable perceptions and refining emotions from the beautiful in the material world ; and these speculations have been, under the name of assthetics, elevated to the dignity of a science. The his tory of Art has afforded more tangible subjects for a large class of authors ; while practical treatises for the exclusive guidance of art-students already exist of, perhaps, adequate authority and in sufficient number. We are, however, ac quainted with very few books containing precisely those explanations of the processes and materials employed in painting which we believe can be given, and would greatly assist, not only the student, but the general public to under stand and appreciate pictures, and to estimate how far ma terial and technical relations have had historical influence on painting— books which in fact contain the particular in formation which an artist might be presumed best capable of communicating. -
Natural History
CM CMO in z:?,2i ^i5 THE LOEB CLASSICAL LIBRARY FOUKDED BY JAMES LOEB, LL.D. EDITED BY fT. E. PAGE, C.H., LITT.D. tE. CAPPS, PH.D., LL.D. tW. H. D. ROUSE, litt.d. L. A. POST, l.h.d. E. H. WARMIXGTON. m.a., f.r.hist.soc. PLINY NATURAL HISTORY IX LIBRI XXXIIl-XXXV PLINY NATURAL HISTORY WITH AN ENGLISH TRANSLATION IN TEN VOLUMES VOLUME IX LlBRi XXXIII-XXXV BY H. RACKHAM, M.A. FELLOW OF CHR1ST'S COLLEGE, CAMBKIDQE CAMBRIDGE, MASSACHUSETTS HAllVARD UNIVERSITY PRESS LONDON WILLIAM HEINEMANN LTD First print..-d 1952 Rpprintcd 1961 Printed in Great Britain CONTENTS PAQE INTKODUCTION vii nOOK XXXIII 1 BOOK XXX IV 125 BOOK XXXV 259 INDEX OF ARTISTS 413 MUSEOGRArUlC INDEX 417 INt>EX OF MINERALS ^IJ INTRODUCTION BooKS XXXIII, XXXIV, and XXXV of Pliny's Natural History contain interesting accounts of minerals and mining and of the history of art. Mr. H. Rackham left when he died a translation in typescript vvith a few footnotes. The Latin text has been prepared by Prof. E. H. Warmington, who has also added the critical notes on this text, many footnotes on the translation, and marginal helps, Some parts of the translation were completely re-written by him. The sections on Greek art were read and criticised by Prof. T. B. L. Webster, to whom thanks are now duly rendered. The codices cited in the critical notes on the Latin text are as follows : B = Bambergensis ; cd. Leid. Voss. = V ; cd. Leid. Lips. = F ; cd. Chiffl{eiianus) = f ; cd. -
The Use of Egyptian Blue in Funerary Paintings from Roman Egypt
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design Art, Art History and Design, School of Spring 4-2021 The Use of Egyptian Blue in Funerary Paintings from Roman Egypt Margaret Sather University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/artstudents Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Archaeology and Art History Commons, Fine Arts Commons, and the Other History of Art, Architecture, and Archaeology Commons Sather, Margaret, "The Use of Egyptian Blue in Funerary Paintings from Roman Egypt" (2021). Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design. 156. https://digitalcommons.unl.edu/artstudents/156 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE USE OF EGYPTIAN BLUE IN FUNERARY PAINTINGS FROM ROMAN EGYPT By Margaret C. Sather A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: Art History Under the Supervision of Professor Michael Hoff Lincoln, Nebraska April, 2021 THE USE OF EGYPTIAN BLUE IN FUNERARY PAINTINGS FROM ROMAN EGYPT Margaret C. Sather, M.A. University of Nebraska, 2021 Advisor: Michael Hoff This paper explores the use of the synthesized pigment Egyptian blue in the encaustic and tempera funerary portraits of Graeco-Roman ruled Egypt in the 1st-3rd centuries CE.