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Roman Domestic Religion : a Study of the Roman Lararia
ROMAN DOMESTIC RELIGION : A STUDY OF THE ROMAN LARARIA by David Gerald Orr Thesis submitted to the Faculty of the Graduate School of the University of Maryland in partial fulfillment of the requirements fo r the degree of Master of Arts 1969 .':J • APPROVAL SHEET Title of Thesis: Roman Domestic Religion: A Study of the Roman Lararia Name of Candidate: David Gerald Orr Master of Arts, 1969 Thesis and Abstract Approved: UJ~ ~ J~· Wilhelmina F. {Ashemski Professor History Department Date Approved: '-»( 7 ~ 'ii, Ii (, J ABSTRACT Title of Thesis: Roman Domestic Religion: A Study of the Roman Lararia David Gerald Orr, Master of Arts, 1969 Thesis directed by: Wilhelmina F. Jashemski, Professor This study summarizes the existing information on the Roman domestic cult and illustrates it by a study of the arch eological evidence. The household shrines (lararia) of Pompeii are discussed in detail. Lararia from other parts of the Roman world are also studied. The domestic worship of the Lares, Vesta, and the Penates, is discussed and their evolution is described. The Lares, protective spirits of the household, were originally rural deities. However, the word Lares was used in many dif ferent connotations apart from domestic religion. Vesta was closely associated with the family hearth and was an ancient agrarian deity. The Penates, whose origins are largely un known, were probably the guardian spirits of the household storeroom. All of the above elements of Roman domestic worship are present in the lararia of Pompeii. The Genius was the living force of a man and was an important element in domestic religion. -
Explaining Verbal Humour to the Audience – the Case of Plautine Neologisms
Graeco-Latina Brunensia 25 / 2020 / 1 https://doi.org/10.5817/GLB2020-1-11 Explaining verbal humour to the audience – The case of Plautine neologisms Joanna Pieczonka (University of Wrocław) Abstract Plautus frequently uses new word formations to increase the comicality of his plays. Such ČLÁNKY / ARTICLES facetious neologisms must have been understood by the audience, otherwise the jokes in the comedies would not have made any sense. However, there are a few passages in which the au- thor explains his newly-coined lexemes through the words of the characters in the plays. This article analyses these utterances, trying to explain why Plautus decided to unveil his process of word creation in these particular places, what function the neologisms have in the dramatic text, how the writer denotes and describes the neologisms, and whether it helps spectators to recognise and appreciate his verbal humour. Most of these passages concern legal neolo- gisms (intestabilis – Pl. Cur. 30–32; parenticida – Epid. 349–351; rabo – Truc. 687–690) and one of them contains a comic name/title (Subballio – Ps. 607–609). The playwright explains the etymology of the new Latin words or shows how he has adapted Greek wordplay (arrabo-rabo) for Roman spectators. These riddle–like explanations are composed following the pattern of identification motifs. Their main goal is to intensify the power of the jokes and their impact on the audience. Keywords Plautus; new words; compound word-formations; legal neologisms; identification motifs 159 Joanna Pieczonka Explaining verbal humour to the audience – The case of Plautine neologisms Fingere verba seems to be a frequent practice of Plautus, who uses language to increase the comicality of his plays. -
Bi-Marcus? the Two Varrones of Augustine and Nonius Marcellus*
BI-MARCUS? THE TWO VARRONES OF AUGUSTINE AND NONIUS MARCELLUS* The singular nature of Nonius’ De compendiosa doctrina has seldom re- ceived the attention it deserves. As long as scholars were content to assume that the fourth-century grammarians (or individuals like Macrobius) were themselves engaged in original research among the books of the Repub- lican authors, Nonius’ “dictionary” seemed only the most extreme expres- sion of a general trend towards the antique, and was implicitly (or occasion- ally explicitly) included in grand narratives that sought to position this fash- ion as a “pagan” cultural reaction to the political triumph of Christianity.1 These narratives, and in their wake the religious motivations thought to underpin much of the secular literature and scholarship of the later fourth century, have been decisively challenged by Alan Cameron.2 In the absence of such a convenient but mistaken paradigm, however, it is exceedingly difficult to give any satisfactory account for Nonius’ project. Though dis- missing the De compendiosa doctrina as the work of an isolated crank looks like an admission of defeat, it will appear from the following discussion that no other explanation is serviceable. So strange does Nonius appear next to his fourth- or fifth-century con- temporaries that a misguided attempt has been made to date him to the end of the Severan era, ca. AD 210-230.3 The latest authority Nonius cites is Sep- timus Serenus, whose presumed floruit is used to supply Nonius’ own in Paul Keyser’s revisionist dating. The earliest authors to use Nonius are Ful- gentius and Priscian.4 * My thanks to the organisers and participants of the « Reconstructing the Republic: Varro and Imperial Authors » conference, and particularly to Valentina Arena, Giorgio Piras, and Christopher Smith. -
2. Frischlin in the Apologetic Context of Humanist Drama 9 3
The Political Dramaturgy of Nicodemus Frischlin COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. The Political Dramaturgy of Nicodemus Frischlin Essays on Humanist Drama in Germany david price UNC Studies in the Germanic Languages and Literatures Number 111 Copyright © 1990 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Price, David. The Political Dramaturgy of Nicode- mus Frischlin: Essays on Humanist Drama in Germany. Chapel Hill: University of North Carolina Press, 1990. doi: https://doi.org/ 10.5149/9781469656656_Price Library of Congress Cataloging-in-Publication Data Names: Price, David. Title: The political dramaturgy of Nicodemus Frischlin : Essays on humanist drama in Germany / by David Price. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 111. Description: Chapel Hill : University of North Carolina Press, [1990] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references and index.