Certamen Mini-League the Final Round April 21, 2020 Test Question
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Christoforou, P. (2017); ''If He Is Worthy': Interactions Between Crowds and Emperors in Plutarch and Tacitus' Accounts
Christoforou, P. (2017); ‘‘If He Is Worthy’: Interactions between Crowds and Emperors in Plutarch and Tacitus’ Accounts of A.D. 69’ Rosetta 21: 1 - 16 http://www.rosetta.bham.ac.uk/issue21/Christoforou.pdf ‘If He Is Worthy’: Interactions between Crowds and Emperors in Plutarch and Tacitus’ Accounts of A.D. 69. Panayiotis Christoforou Introduction1 But no power, no empire, can hope to exist for long unless it wins the assent and trust of the majority of its subjects, and the question that this lecture aims at answering is, ‘What did the common people under the Empire expect of their rulers, and how were they satisfied?’ It is no good simply referring the inquirer to such treatises as Seneca On Clemency, Dio Chysostom On Kingship, or the younger Pliny’s Panegyric on Trajan. Instructive these treatises are, and useful… but they have one common fault: with their elegance and sophistication, their almost painfully literary quality, they can have reached and influenced only a small circle, whereas we are concerned with the ordinary people, ‘What did the farmer in Gaul, the corn-shipper in Africa, the shopkeeper in Syria, expect?2 At the Raleigh Lecture on History in 1937, M. P. Charlesworth showed his interest in the attitudes of subjects towards the empire, and asked the question of what they expected from the emperor, and what they thought about him. An interesting question, which is fraught with difficulties and pitfalls. For one thing, Charlesworth’s solution to his enquiry was to explore the ‘propagandic’ output of the centre, including -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Psamathe – Alternatives Konzept Der Entsanderspülung
WASSERBAU Giovanni De Cesare, Cécile Münch-Aligné, Milad Daneshvari, Sebastian Schwindt und Fernando Biaggi Psamathe – Alternatives Konzept der Entsanderspülung Die vollständige Spülung von Dufour-Sandfängen geht einher mit erheblichen Verlusten des Triebwassers, wodurch der Anlagenertrag geschmälert wird. Die Effizienz eines neuarti- gen Spülsystems wird durch numerische Simulationen anhand einer Fallstudie eines Dufour- Sandfangs bewiesen. Das System ermöglicht gleichmäßige Geschwindigkeitsverteilungen entlang des Spülkanals im Bereich einer ausreichenden Sedimenttransportkapazität, im Ge- gensatz zu bestehenden Systemen, die erst im letzten Drittel des Spülkanals ausreichende Fließgeschwindigkeiten erreichen. 1 Einleitung Projektverantwortlichen die vorliegende setzverhalten zu fördern. Bei größeren Studie einer alternativen Entsanderspü- Durchflüssen werden mehrere Becken pa- Bereits die antiken Griechen wussten um lung ebenfalls nach Psamathe zu benen- rallel angeordnet, um ein gleichmäßiges die Bedeutsamkeit des Sandes und schrie- nen. Von größerer Relevanz als die der ter- Durchströmen zu ermöglichen [12]. Die ben dem Material mit Psamathe eine Göt- minologischen Historie dieser Studie sind abgelagerten Feststoffe müssen regelmä- tin zu. Sie ist eine der etwa 50 Nereiden, ihre technischen Aspekte, da Sand im ßig aus dem Absetzraum gespült werden. den Töchtern des Nereus und der Doris. Triebwasser für Wasserkraftbetreiber ei- Obwohl es langjährig bewährte Systeme Der Ursprung ihres Namens liegt in den nen kritischen Aspekt darstellt. -
Pythios and Pythion: the Spread of a Cult Title J.K
Mediterranean Historical Review Vol. 22, No. 1, June 2007, pp. 57–69 Pythios and Pythion: The Spread of a Cult Title J.K. Davies The epithet Pythios/Pythion, unequivocally denoting the cult of Apollo of Delphi, came to have a very widespread distribution throughout the Greek world, comparable only to that of Zeus Olympios. Pre-Hellenistic attestations are summarily reported, showing concentrations (e.g., Attika, Argolis, Thessaly, Aegean islands, Krete), significant vacua (e.g., Boiotia, north-western Greece), and overlaps with the epithets Delphinios and Pythaieus. Likely periods and mechanisms of its spread are sketched, as are possible explanations (colonization, oracles, purification), though without overt preference for any one model of network-formation. Keywords: Apollo; Cult; Oracle; Purification; Distribution It is a cliche´ of scholarship that the terms Pythios and Pythion derive from Pytho, the earliest attested name for the cultic area later known as Delphoi,1 and that they came to refer unequivocally to Apollo as the principal god of the upper sanctuary there. They therefore belong among the ‘locational’ epithets of the god, parallel to Klarios or Didymeus, not among those derived from function or from association or identification with animals.2 As such, they pose a problem, for it was unusual for locational epithets to spread far beyond their primary sanctuary, still less to show such widespread attestation throughout much of the Greek-speaking world: Zeus Olympios provides perhaps the only true comparison, with even Eleusinian Demeter well behind. Their distribution therefore needs an explanation, and one which is couched not just in terms of geography or of the ‘profile’ of the god but also, and primarily, in terms of human needs and of the ways in which a specific cult could be transferred, or replicated/cloned, elsewhere. -
PERFORMING the LABORING CLASS: the EVOLUTION of PUNCH and JUDY PERFORMANCE by Kathryn Meehan, BA a Thesis Submitted to The
PERFORMING THE LABORING CLASS: THE EVOLUTION OF PUNCH AND JUDY PERFORMANCE by Kathryn Meehan, BA A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Theatre August 2014 Committee Members: John Fleming Sandra Mayo Margaret Eleanor Menninger 1 COPYRIGHT by Kate Meehan 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Kate Meehan, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I would first like to thank Dr. Margaret Eleanor Menninger, whose support for my work in theatre as an historical tool has been unwavering, and Dr. John Fleming and Dr. Sandra Mayo, who also served as readers for this thesis. I would be remiss if I didn’t thank Adam Rodriguez, La Fenice’s most popular Pulcinella, for providing invaluable insight into the character’s modern interpretation and serving as a sounding board for much of this thesis. Also due recognition is Olly Crick, whose decade-long support of my work as both a performer and academic is much appreciated. Special thanks also to my husband, Stephen Brent Jenkins, and our children, who were both encouraging and understanding throughout the writing of this document. -
Insect Egg Size and Shape Evolve with Ecology but Not Developmental Rate Samuel H
ARTICLE https://doi.org/10.1038/s41586-019-1302-4 Insect egg size and shape evolve with ecology but not developmental rate Samuel H. Church1,4*, Seth Donoughe1,3,4, Bruno A. S. de Medeiros1 & Cassandra G. Extavour1,2* Over the course of evolution, organism size has diversified markedly. Changes in size are thought to have occurred because of developmental, morphological and/or ecological pressures. To perform phylogenetic tests of the potential effects of these pressures, here we generated a dataset of more than ten thousand descriptions of insect eggs, and combined these with genetic and life-history datasets. We show that, across eight orders of magnitude of variation in egg volume, the relationship between size and shape itself evolves, such that previously predicted global patterns of scaling do not adequately explain the diversity in egg shapes. We show that egg size is not correlated with developmental rate and that, for many insects, egg size is not correlated with adult body size. Instead, we find that the evolution of parasitoidism and aquatic oviposition help to explain the diversification in the size and shape of insect eggs. Our study suggests that where eggs are laid, rather than universal allometric constants, underlies the evolution of insect egg size and shape. Size is a fundamental factor in many biological processes. The size of an 526 families and every currently described extant hexapod order24 organism may affect interactions both with other organisms and with (Fig. 1a and Supplementary Fig. 1). We combined this dataset with the environment1,2, it scales with features of morphology and physi- backbone hexapod phylogenies25,26 that we enriched to include taxa ology3, and larger animals often have higher fitness4. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
Three Theories of the Origin of the Commedia Dell'arte
THREE THEORIES OF THE ORIGIN OF THE COMMEDIA DELL' ARTE by NANCY KAY PENNELL B.A., McPherson College, 1986 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS SPEECH KANSAS STATE UNIVERSITY Manhattan, Kansas 1989 Approved by: Major Professor \J) AllEDfl 3QS057 TABLE OF CONTENTS Acknowledgements li Chapter I : INTRODUCTION 1 Chapter II: THE COMMEDIA DELL' ARTE 3 Chapter III: THE FABULA ATELLANA THEORY 7 Chapter IV: THE MIME THEORY ' 49 Chapter V: THE MOUNTEBANK THEORY 67 Chapter VI : CONCLUSION 72 Chapter VII: WORKS CONSULTED 74 ACKNOWLEDGMENTS I would like to thank Dr. Lewis Shelton and Dr. Carl Hinrichs for sacrificing their valuable time to serve on my graduate committee and for their support through my years at Kansas State. Thanks, too, to Dr. Norman Fedder for his encouragement and enthusiasm for this project. To my parents, Bill and Grace Pennell, I extend deep gratitude and love for their support and for their unfailing belief in my abilities. Also, thanks to Sean Dwyer, for his tolerance, his encouragement, his advice, and his assurances that this project could be completed. Special thanks to my major professor, Dr. Harold J. Nichols, whom I admire greatly and without whose help this report would not have become a reality. ii I INTRODUCTION Bright colors, comic characters, rude comments, and the crack of a slapstick were all elements of the commedia dell'arte of mid-sixteenth century Italy. This lively, improvised form of entertainment was extremely popular with both the upper and lower classes. There are numerous facts available regarding the commedla's characters, some plotlines and titles, costumes, masks, and comic business, but there are no definite facts regarding its origin. -
Euripides-Helen.Pdf
Euripides Helen Helen By Euripides, translation by E. P. Coleridge Revised by the Helen Heroization team (Hélène Emeriaud, Claudia Filos, Janet M. Ozsolak, Sarah Scott, Jack Vaughan) Before the palace of Theoklymenos in Egypt. It is near the mouth of the Nile. The tomb of Proteus, the father of Theoklymenos, is visible. Helen is discovered alone before the tomb. Helen These are the lovely pure streams of the Nile, which waters the plain and lands of Egypt, fed by white melting snow instead of rain from heaven. Proteus was king [turannos] of this land when he was alive, [5] living [oikeîn] on the island of Pharos and lord of Egypt; and he married one of the daughters of the sea, Psamathe, after she left Aiakos' bed. She bore two children in his palace here: a son Theoklymenos, [because he spent his life in reverence of the gods,] [10] and a noble daughter, her mother's pride, called Eido in her infancy. But when she came to youth, the season of marriage, she was called Theonoe; for she knew whatever the gods design, both present and to come, [15] having received these honors [tīmai] from her grandfather Nereus. My own fatherland, Sparta, is not without fame, and my father is Tyndareus; but there is indeed a story that Zeus flew to my mother Leda, taking the form of a bird, a swan, [20] which accomplished the deceitful union, fleeing the pursuit of an eagle, if this story is true. My name is Helen; I will tell the evils [kaka] I have suffered [paskhein]. -
A Children's Theatre Production of William Glennon's the Adventures of Harlequin
LEONG, DAVID STUART. A Children's Theatre Production of William Glennon's The Adventures of Harlequin. (1975) Directed by: Mr. Thomas Behm. Pp. 146. Many people who are not familiar with the commedia dell'arte have enjoyed flipping through the pages of an Italian Renaissance book and laughing at the antics of the patchwork costumed clowns or the crooked nosed hunchback who literally stumbled over his own feet. Perhaps they have watched a Mardi Gras carnival take shape and applauded the advent of the black masked characters who so often amaze and bewilder the public with their tricks. Whether we spend an afternoon looking at a picturesque book of the seventeenth century or roaring at a Punch and Judy show, we are ex- periencing traces of what was once Italy's most popular dra- matic form--the commedia dell'arte. William Glennon's The Adventures of Harlequin is a delightful play based on a folktale about a young lad and his adventures as a member of a commedia dell'arte troupe. Within the contents of this thesis, the author purports to present a pre-production analysis of the play, a director's prompt book as a record of the production and a post- production evaluation and summary. Included in Chapter One are: (1) an analysis of the form, birth, and decline of the commedia dell'arte, (2) a brief report on the nature of Harlequin's name, costume, and mask, (3) a discussion on the life and style of the s playwright, and (4) an explanation of the director's pre- production plans in terms of concept, style and form. -
Metamorphoses
Metamorphoses .Like their Greco-Roman counterparts, many Chinese mythical figures become metamorphosed into plants, birds, and anim als, or ob jects such as a dead tree or stone. As Daphne turned into laurel and the sisters o f Phaeton into amber-dropping trees, so Ch’ih Yu’s fetters turned into a grove o f maple trees and Y i Yin’s mother turned into a dead and hollow mulberry tree. As Ganymede (or Deucalion) and Orion turned into the constellations o f Aquarius and Orion, so Fu Yueh became a star, and the two quarreling brothers Yen Po and Shih Ch’en became stars that never crossed paths. As the nymph Psamathe turned into a seal, so Ch’ang O became a toad on the moon. Birds are the most frequent form of metamorphosis, possibly because their winged flight more vividly suggests aerial divinity. Semiramis, who became a dove, Ceyx and Alcyone, who turned into birds, Leda, who metamorphosed into a swan, Nemesis, who became a goose, and Philomela, who turned into the nightingale— all have their counterparts in Chinese gods and goddesses: Ching Wei and Tan Chu became birds, and the emperor o f Shu, Hi Yii, was associated with the nightjar’s call. The correlation between deity and metamorphosed state in the Greco-Roman tradition is often wittily realized. Syrinx turns into a reed as she flees from Pan, who makes a musical instrument from her new form. Narcissus turns into a delicately beautiful water flower, the 189 190 ~ Chinese Mythology narcissus, after he drowns while admiring his reflection in the water. -
Arnold Böcklin's Paradigm Shift
WHEN THE NEREID BECAME MERMAID Arnold BöCklin’s Paradigm Shift [ReCeived 23rd February 2018, aCCepted 15th May 2018, DOI: 10.21463/shima.12.2.09] Han Tran University of Miami <[email protected]> ABSTRACT: Arnold BöCklin’s untraditional depiCtion of the Nereid as mermaid merges two strands that ClassiCal representations of the sea Creature endeavoured to keep separate and that Roman iconography yielded to: the Nereid as idealised, anthropomorphic representative of the Olympian order in the treaCherous realm that is the monster-breeding sea, and the erotiCally Charged objeCt of male attention. His intention, in his own words, was to fuse figure with setting and atmosphere, suCh that the Nereid was no longer simply a figure oCCupying the pictorial spaCe, but embodied in her sensual shape and expression the drawing power of the sea, as well as the vertiginous suggestion of its abysmal depths. BöCklin concludes that the Nereid’s fusion with her environment leads logically to her being conceived as a mermaid, with fishtail. The sea is now no longer, as was the case in ancient iconography, a medium where the Nereid takes gentle rides on the baCk of always Contrasting sea Creatures, without ever seeming to merge with, or be affeCted psyChologiCally by, their disturbing otherness, their difference from her. KEYWORDS: Mermaid, Nereid, Triton, BöCklin, Olympian, RoCk For Freud the unheimliCh is only “outside the house” (the house of the self, the house of culture, the house of the cosmos) insofar as it is hidden within the house. It is a revelation not of the wholly other but of a repressed otherness within the self.