DOCSLIB.ORG

PDF of the Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF of the Notes Notes __________________________________ These notes aspire neither to completeness nor to the naming of the first respective orig- inator of a thought or a theory. Since this work is more a research report than an academic treatise, such aspirations would actually be neither required nor useful. However, should we have violated any rights of primogeniture, this did not happen intentionally and we hereby apologize beforehand, and promise to mend our ways. We also would like to express our gratitude in advance for any references, tips, or clues sent to us. For abbreviations of collected editions and lexicons, journals and serials, monographs and terms see Ziegler & Sontheimer (1979). For the Greek authors’ names and titles see Liddell & Scott (1996) and for the Latin ones Glare (1996). The Gospel texts translated into English were quoted on the basis of the King James Ver- sion of 1611. In some cases the Revised Standard Version of 1881 and the New American Bible of 1970 were relied on. These three translations often differ from each other considerably. Although they all, even the Catholic one, make use of the original languages rather than the Vulgate as a basis for translation, they have the tendency to read the text of the New Testament according to the current interpreta- tion and to amalgamate it with the Old, so that in critical points the newer transla- tions are overtly conflicting with the Greek original text, arbitrarily interpreting e. g. thalassa, properly ‘sea’, as lake, Christos, ‘Christ’, as Messiah, adapting the orthog- raphy of the proper names in the New Testament to those in the Old, e.g. Elias to Elijah, etc. For this reason we have prefered to use as a basis the King James Version, which is older but more reliable and closer to the Graeca Veritas. I. Prima Vista 1 According to Lange (1938) this Buca-denarius (collection Mamroth, Berlin- Pankow) represents the definitive Caesar-portrait. The same coin is depicted on the cover of various books, for example in Gelzer (31941) and Vandenberg (1986). A. Alföldi analyzes in the Schweizer Münzblätter 73, 1969, p. 1-7 ‘the earliest type of denarius by L. Buca with the inscription caesar dictator perpetvo’, from which it can be learned that this denarius belongs to one of the earliest types (plate 1, 1-3). Similar features are also found on the Mettius-denarius with caesar dict qvart (B.M.C. 4135, Crawford 480/2a-b); since dict qvart preceded dict per- petvo for some time, this Mettius-type would be the more original (cf. A. Alföldi, ‘Das wahre Gesicht Caesars’, Antike Kunst 2, 1959, p.27 sqq). It can be seen that later dies idealize towards clementia and divus, so that some Buca-denarii (as the denarius depicted here or the one in A. Alföldi, Schweizer Münzblätter 73, l.c. plate i, 3) already show ‘Jesus-like’ features. For the whole of this iconography cf. R. Herbig, ‘Neue Studien zur Ikonographie des Gaius Iulius Caesar’, first published in: Kölner Jahrbuch für Früh- und Vorgeschichte, Berlin, 41959, p.7sqq., and again 360 Notes in: D. Rasmussen ed., Caesar, Darmstadt 1967, with bibliography and many illus- trations. 2 Borda (1957). 3 Vessberg (1941), p.176sq. 4 So Borda, l.c. 5 Cic. Ep. ad fam. 12.3. 6 Erika Simon, Arch. Anz. 1952, 138sqq.; Gymnasium, 64. Jg., 1957, H.4, p.295-9. 7 App. BC 2.147 8 The identification of the Torlonia head as a Caesar-portrait was questioned by Paul Zanker, Arch. Anz. 1981, p.357. He suspects a ‘Caesar-Zeitgesicht’, a ‘time-face of Caesar’, i.e. the portrait of an unknown person amongst the leaders of a provin- cial town, in which ‘the effect of the numerous statues to the honor of the divine dictator are reflected’. He thinks that Erika Simon’s ‘interpretation of it as a pity rousing, posthumous figure, which has found a very positive echo in the newer lit- erature’ is based on ‘empathy’—and rejects it: ‘In spite of great resemblances, main- ly in the details of the nose and the mouth, in the accentuated cheek-bones and the structure of the forehead, the head differs clearly in the proportions and the profile from the authentic figures of Caesar of the Turin type (from Tusculum) and the Pisa- Vatican type.’ However, Zanker’s opinion ‘does not convince’ Erika Simon ‘nor other colleagues either’ with whom she spoke: ‘He makes it too easy for himself, because none of his other “time-faces” is penetrated by this energy, none of the others has these typical Caesarean proportions and the accentuated occiput, where the traces of the (metal) wreath have been convincingly demonstrated. And Zanker also uses the term “time- face” (Zeitgesicht), invented by Bernhard Schweitzer, much too broadly’ (personal communication). Since both archaeologists use the profile as an argument, we place the Torlonia in the middle between some other, authenticated Caesar-profiles: 1. Buca 2. Tusculum 12. Torlonia 18. Uffizi 19. Pisa Apart from the fact that the typical occiput of Caesar seems to be more accentuated than usual and so the neck has become somewhat thicker to accommodate this, we can find no major differences. That the saddle in the middle of the forehead has been rounded and the hair piously covers the bald front in the heads Torlonia, Uffizi and Pisa marks them all three as posthumous. Only the expression of the Torlonia-face is different, more humble, stressed by the inclination of the head. But the same ex- pression and the same inclination of the head are also found in that of the Palazzo degli Uffizi (as well as in the Vatican-type, see chapter 1 ill.9). Anyway, it is not decisive for the economy of our text whether we have here a ‘Cae- sar-face’ or a ‘Caesar time-face’. That is to say, Zanker bases his examination on the bust of M. Holconius Rufus in Pompeii, who was Augusti Caesaris sacerdos accord- ing to the inscription on the base, which, in respect of the supposed time of its ded- ication (between 2/1 bc and 14 ad), still meant sacerdos Divi Iulii and sacerdos Divi Filii at the same time. Mutatis mutandis the face of the deified Caesar would have to Prima Vista 361 rubbed off on the face of his priest (hardly on the face of the priests of his Son of God Augustus, because Zanker holds Caesar’s head in the Torlonia museum to be an ‘image of the late republic’ as the legend on the illustration explains). In the case of the Torlonia head, one would then have to assume that the features of the deified one have completely transfigured those of his priest. If Zanker were right, we would here be looking at the face of Divus Iulius become independent, instead of ‘Caesar’s pietà’: ‘Caesar’s transfiguration’. Our starting point would hardly be altered by this. 9 Dio Cass. HR 44.4.5: kai; ejpiv ge tou' bhvmato" duvo (ajndriavntaı), to;n me;n wJ" tou;" polivta" seswkovto" to;n de; wJ" th;n povlin ejk poliorkiva" ejxh/rhmevnou, meta; tw'n ste- favnwn tw'n ejpi; toi'" toiouvtoi" nenomismevnwn iJdruvsanto. 10 Gel. 5.6.11: civica corona appellatur, quam civis civi, a quo in proelio servatus est, testem vitae salutisque perceptae dat. ea fit e fronde quernea; 5.6.8: obsidionalis est, quam ii qui liberati obsidione sunt dant ei duci qui liberavit. ea corona graminea est, observarique solitum ut fieret e gramine, quod in eo loco gnatum esset, intra quem clausi erant qui obsidebantur. 11 App. BC 3.3.8 12 Cf. Weinstock (1971), p.365. 13 Details cf. Raubitschek (1954), p.65-75; Die Inschriften von Ephesos (The in- scriptions of Ephesos), part II, 1979, nº251. 14 Photography: Deutsches Archäologisches Institut, Rome. Cf. F. Chamoux, Fonda- tion Eugène Piot, Monuments et Mémoires 47, 1953, 131sqq. Tab.12. 15 Cf. App. BC 3.3.8-9; Cic. Phil. 1.5. 16 Sometimes also a wreath of myrtle is supposed, cf. L. Cesano, Rendiconti della Pontif. Accad. Rom. Archeol. 23/24, 1947/49, p.146sqq., and Kraft (1969), p.21 and n.78: ‘könnte man sie auch als Myrtenblätter ansprechen—they could be called myrtle-leaves as well’. 17 That the wreath was called etrusca corona is attested to by Tert. coron. 27, and that the instruments which were used in the triumph are of Etruscan origin by App. Pun. 66 (cited after Latte (1960), p.152). Kraft (1969), p.20: ‘On the coins Caesar cer- tainly does not wear a natural wreath of laurel or another wreath of green leaves, but an Etruscan corona aurea (after Dio Cass. HR 44.6.3)’, an Old Etruscan royal crown, which he distinguishes from the corona aurea of Pompeius (after Vell. 2.4.40). In contrast Crawford (1974), I, p.488, n.1 and nº 426.4a, who accepts a ‘golden triumphal wreath’, but not an ‘Old Etruscan royal crown’ (he thinks Cae- sar’s golden triumphal wreath is identical to Pompeius’ corona aurea). Dio Cassius (HR 44.6.3) speaks of a ‘wreath, embroided with gold and decorated with precious jewels’—kai; to;n stevfanon to;n diavliqon kai; diacruson.v 18 Lucius Cornelius Sulla was the leader of the senate party (the optimates), Gaius Marius of the people’s party (the populares). M. Minucius Thermus was an obdu- rate follower of Sulla who in 88 chased Marius, an uncle of Caesar’s, out of Rome. It has not been passed down to us who was saved by Caesar. As at this time only Sullans and optimates held office—and the Marians and populares were either liq- uidated or had to go into hiding—the person saved by Caesar probably was a polit- ical opponent.
Load more

Recommended publications
  • Cato, Roman Stoicism, and the American 'Revolution'
    Cato, Roman Stoicism, and the American ‘Revolution’ Katherine Harper A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. Arts Faculty, University of Sydney. March 27, 2014 For My Parents, To Whom I Owe Everything Contents Acknowledgements ......................................................................................................... i Abstract.......................................................................................................................... iv Introduction ................................................................................................................... 1 Chapter One - ‘Classical Conditioning’: The Classical Tradition in Colonial America ..................... 23 The Usefulness of Knowledge ................................................................................... 24 Grammar Schools and Colleges ................................................................................ 26 General Populace ...................................................................................................... 38 Conclusions ............................................................................................................... 45 Chapter Two - Cato in the Colonies: Joseph Addison’s Cato: A Tragedy .......................................... 47 Joseph Addison’s Cato: A Tragedy .......................................................................... 49 The Universal Appeal of Virtue ...........................................................................
    [Show full text]
  • INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
    INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Liberalia Tu Accusas ! Restituting the Ancient Date of Caesar’S Funus*
    LIBERALIA TU ACCUSAS ! RESTITUTING THE ANCIENT DATE OF CAESAR’S FUNUS* Francesco CAROTTA**, Arne EICKENBERG*** Résumé. – Du récit unanime des anciens historiographes il ressort que le funus de Jules César eut lieu le 17 mars 44 av. J.-C. Or la communauté académique moderne prétend presque aussi unanimement que cette date est erronée, sans s’accorder cependant sur une alternative. Dans la littérature scientifique on donne des dates entre le 18 et le 23, et plus précisément le 20 mars, en s’appuyant sur la chronologie avancée par Drumann et Groebe. L’analyse des sources historiques et des évènements qui suivirent l’assassinat de César jusqu’à ses funérailles, prouve que les auteurs anciens ne s’étaient pas trompés, et que Groebe avait reconnu la méprise de Drumann mais avait évité de l’amender. La correction de cette erreur invétérée va permettre de mieux examiner le contexte politique et religieux des funérailles de César. Abstract. – 17 March 44 BCE results from the reports by the ancient historiographers as to the date of Julius Caesar’s funus. However, today’s academic community has consistetly claimed that they were all mistaken, however, an alternative has not been agreed on. Dates between 18 and 23 March have been suggested in scientific literature—mostly 20 March, which is the date based on the chronology supplied by Drumann and Groebe. The analysis of the historical sources and of the events following Caesar’s murder until his funeral proves that the ancient writers were right, and that Groebe had recognized Drumann’s false dating, but avoided to adjust it.
    [Show full text]
  • 1996 Njcl Certamen Round A1 (Revised)
    1996 NJCL CERTAMEN ROUND A1 (REVISED) 1. Who immortalized the wife of Quintus Caecilius Metellus as Lesbia in his poetry? (GAIUS VALERIUS) CATULLUS What was probably the real name of Lesbia? CLODIA What orator fiercely attacked Clodia in his Pro Caelio? (MARCUS TULLIUS) CICERO 2. According to Hesiod, who was the first born of Cronus and Rhea? HESTIA Who was the second born? DEMETER Who was the fifth born? POSEIDON 3. Name the twin brothers who fought in their mother's womb. PROETUS & ACRISIUS Whom did Proetus marry? ANTIA (ANTEIA) (STHENEBOEA) With what hero did Antia fall in love? BELLEROPHON 4. Give the comparative and superlative forms of mult§ PLâRS, PLâRIM¦ ...of prÇ. PRIOR, PR¦MUS ...of hebes. HEBETIOR, HEBETISSIMUS 5. LegÇ means “I collect.” What does lectitÇ mean? (I) COLLECT OFTEN, EAGERLY Sitis means “thirst.” What does the verb sitiÇ mean? (I) AM THIRSTY / THIRST CantÇ means “I sing.” What does cantillÇ mean? (I) CHIRP, WARBLE, HUM, SING LOW 6. Differentiate in meaning between p~vÇ and paveÇ. P}VÆ -- PEACOCK PAVEÆ -- (I) FEAR, TREMBLE Differentiate in meaning between cavÇ and caveÇ. CAVÆ -- I HOLLOW OUT CAVEÆ -- I TAKE HEED, BEWARE Differentiate in meaning between modo (must pronounce with short “o”) and madeÇ. MODO -- ONLY, MERELY, BUT, JUST, IMMEDIATELY, PROVIDED THAT MADEÆ -- I AM WET, DRUNK Page 1 -- A1 7. What two words combine to form the Latin verb malÇ? MAGIS & VOLÆ What does malÇ mean? PREFER M~la is a contracted form of maxilla. What is a m~la? CHEEK, JAW 8. Which of the emperors of AD 193 executed the assassins of Commodus? DIDIUS JULIANUS How had Julianus gained imperial power? BOUGHT THE THRONE AT AN AUCTION (HELD BY THE PRAETORIANS) Whom had the Praetorians murdered after his reign of 87 days? PERTINAX 9.
    [Show full text]
  • Representing Roman Female Suicide. Phd Thesis
    GUILT, REDEMPTION AND RECEPTION: REPRESENTING ROMAN FEMALE SUICIDE ELEANOR RUTH GLENDINNING, BA (Hons) MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2011 Abstract This thesis examines representations of Roman female suicide in a variety of genres and periods from the history and poetry of the Augustan age (especially Livy, Ovid, Horace, Propertius and Vergil), through the drama and history of the early Principate (particularly Seneca and Tacitus), to some of the Church fathers (Tertullian, Jerome and Augustine) and martyr acts of Late Antiquity. The thesis explores how the highly ambiguous and provocative act of female suicide was developed, adapted and reformulated in historical, poetic, dramatic and political narratives. The writers of antiquity continually appropriated this controversial motif in order to comment on and evoke debates about issues relating to the moral, social and political concerns of their day: the ethics of a voluntary death, attitudes towards female sexuality, the uses and abuses of power, and traditionally expected female behaviour. In different literary contexts, and in different periods of Roman history, writers and thinkers engaged in this same intellectual exercise by utilising the suicidal female figure in their works. ii Acknowledgments I would like to thank the Arts and Humanities Research Council for providing the financial assistance necessary for me to carry out this research. The Roman Society also awarded a bursary that allowed me to undertake research at the Fondation Hardt pour I'etude de I'antiquite classique, in Geneva, Switzerland (June 2009). I am also grateful for the CAS Gender Histories bursary award which aided me while making revisions to the original thesis.
    [Show full text]
  • Roman Architecture with Professor Diana EE Kleiner Lecture 9
    HSAR 252 - Roman Architecture with Professor Diana E. E. Kleiner Lecture 9 – From Brick to Marble: Augustus Assembles Rome 1. Title page with course logo. 2. Portrait of Julius Caesar, from Egypt, now Berlin. Reproduced from Cleopatra and Rome by Diana E.E. Kleiner (2005), fig. 8.5. Portrait of Pompey the Great, Copenhagen. Reproduced from Cleopatra and Rome by Diana E.E. Kleiner (2005), fig. 8.3. 3. Text. 4. Text. 5. Rome, aerial view of ancient core of city. Credit: Google Earth. 6. Forum of Julius Caesar, Rome, plan. Credit: Yale University. 7. Forum of Julius Caesar, Rome, general view [online image]. Wikimedia Commons. http://commons.wikimedia.org/wiki/File:Caesarforumrom.jpg (Accessed February 10, 2009). Coin with Forum of Julius Caesar and Temple of Venus Genetrix. Reproduced from Pictorial Dictionary of Ancient Rome I by Ernest Nash (1961), fig. 26. 8. Forum of Julius Caesar, Rome, fragments of Temple of Venus Genetrix. Image Credit: Diana E. E. Kleiner. 9. Forum of Julius Caesar, Rome, restored view with Temple of Venus Genetrix. Reproduced from Ancient Rome, Monuments Past and Present by Romolo A. Staccioli (2000), p. 21. 10. Portrait of Augustus, Athens [online image]. Wikimedia Commons. http://commons.wikimedia.org/wiki/File:Acaugustus.jpg (Accessed February 10, 2009). Portrait of Mark Antony, Kingston Lacey. Reproduced from Cleopatra and Rome by Diana E. E. Kleiner (2005), fig. 2.3. 11. Text. 12. Text. 13. Carrara, quarries. Reproduced from National Geographic July 1982, p. 49. Carrara, transporting marble down the mountain. Reproduced from National Geographic July 1982, p. 56. 14.
    [Show full text]
  • 2824 Amphora Fall 05
    ® A publication of the American Philological Association Vol. 4 • Issue 2 • Fall 2005 WHAT’S NEW AT POMPEII Book Review: AREIOS POTER kai he tou AND HERCULANEUM? philosophou lithos RESEARCH, EXCAVATION, EXHIBITIONS, by Diane L. Johnson AND BOOKS Andrew Wilson, trans. AREIOS POTER kai by Ann Olga Koloski-Ostrow he tou philosophou lithos. The ancient Greek edition of J. K. Rowling’s Harry he volcanic eruption of Mount Potter and the Philosopher’s Stone. Blooms- Vesuvius (see Fig. 1) in A.D. 79 T bury Publishing (http://www.bloomsbury. affected the psyche of the Romans for a long time after the event, com), 2004. Pp. 250. Hardcover $21.95. and the memory of the explosion with ISBN 1-58234-826-x. its large loss of life was perpetuated by a variety of imperial and later Roman fter the much-anticipated release of writers. Martial, Valerius Flaccus, Silius Italicus, Tacitus, Pliny the Younger Athe sixth book in the Harry Potter (whose two famous letters to Tacitus series this past summer and the release of have helped us understand the pyroclas- the fourth film, Harry Potter and the Goblet tics – the nature of the volcanic rock of Fire, in November, few people these ejections of the eruption), Suetonius, days are unacquainted with the Harry Pot- Cassius Dio, Marcus Aurelius, Florus, ter phenomenon. Readers who are both and later Christian writers like Tertul- lian all mentioned the calamity of Vesu- Hellenists and Harry Potter enthusiasts will, Fig. 1. View of Mount Vesuvius from vius in various contexts in their works. of course, need no encouragement to Naples harbor, August 2005.
    [Show full text]
  • The Chief Turning Point in the Long Course
    C H A P T E R 4 T R L he chief turning point in the long course At the same time his social reforms, aimed chie y at of Roman history came in 31 BCE , with the the upper classes, were intended to return his subjects nal collapse of the Roman Republic, and to traditional family values. Laws provided tax breaks its replacement by an Imperial system of for large families and penalized couples who did not Tgovernment. Augustus, the rst emperor, was faced produce children and those who remained unmar- with the task of restoring peace. During his long reign, ried. Adultery became a crime against the state. the spread of economic prosperity produced a hard- Yet despite the success of Augustus’s political and working middle class, loyal to the central government. economic policies, it is doubtful if his moral reform- ing zeal met with more than polite attention. His own daughter and granddaughter, both named Julia, were notorious for their scandalous affairs. To make matters worse, one of the lovers of his daughter Julia was a son of the Emperor’s old enemy, Mark Antony, whose defeat and suicide in 31 BCE had brought the Republic crashing down. Whatever his personal feel- ings, duty compelled Augustus to banish Julia to a remote Mediterranean island. A few years later he had to nd another distant location for the banishment of his granddaughter. He hushed up the details of both scandals, but there was much gossip. Augustus himself created a personal image of ancient Roman frugality and morality, although on his death-bed he gave a clue as to his own more com- plex view of his life.
    [Show full text]
  • Oratio Recta and Oratio Obliqua in Caesar's De Bello
    VOICES OF THE ENEMY: ORATIO RECTA AND ORATIO OBLIQUA IN CAESAR’S DE BELLO GALLICO by RANDY FIELDS (Under the Direction of James C. Anderson, jr.) ABSTRACT According to his contemporaries and critics, Julius Caesar was an eminent orator. Despite the lack of any extant orations written by Caesar, however, one may gain insight into Caesar’s rhetorical ability in his highly literary commentaries, especially the De Bello Gallico. Throughout this work, Caesar employs oratio obliqua (and less frequently oratio recta) to animate his characters and give them “voices.” Moreover, the individuals to whom he most frequently assigns such vivid speeches are his opponents. By endowing his adversaries in his Commentarii with the power of speech (with exquisite rhetorical form, no less), Caesar develops consistent characterizations throughout the work. Consequently, the portrait of self-assured, unification-minded Gauls emerges. Serving as foils to Caesar’s own character, these Gauls sharpen the contrast between themselves and Caesar and therefore serve to elevate Caesar’s status in the minds of his reader. INDEX WORDS: Caesar, rhetoric, oratory, De Bello Gallico, historiography, propaganda, opponent, oratio obliqua, oratio recta VOICES OF THE ENEMY: ORATIO RECTA AND ORATIO OBLIQUA IN CAESAR’S DE BELLO GALLICO by RANDY FIELDS B.S., Vanderbilt University, 1992 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Randy Fields All Rights Reserved VOICES OF THE ENEMY: ORATIO RECTA AND ORATIO OBLIQUA IN CAESAR’S DE BELLO GALLICO by RANDY FIELDS Major Professor: James C.
    [Show full text]
  • 1 APAH Daily Calendar 2020 21
    APAH CALENDAR 2020 - 21 AP ART HISTORY *subject to constant change CALENDAR & OVERVIEW SUGGESTED SUMMER WORK: KHAN ACADEMY APAH250 IMAGES - APAH WEBSITE LINKS www.pinerichland.org/art BROWSING / SELF - QUIZ *click on APArtHistory tab on Left menu SUMMER SUGGESTED SUMMER WORK: VTHEARLE SUMMER LEARNING FILMS: Expanding upon APAH250 works and deepening RESOURCES VIA PRHS SITE context surrounding works DAILY CLASS READINGS - TO BE DONE BEFORE CLASS *Readings before class: QUIZ: G= Gardner’s Art Through the Ages I will evaluate your retention of class materials periodically in the form of a (DIGITAL EBOOK) POP QUIZ. K= Khan Academy (WEBSITE) Methods may vary: i.e. ‘Plickers’ / Google Quiz They will have a lower relative point value... Aka ‘The Fat these are designed to help guide my instruction ‘APAH 250 Stack’ FORMATIVE (forming understanding) vs. SUMMATIVE (sum end result) CARDS’TIMELINE (hallway) FRQ SIMULATION ESSAY WRITINGS: 3 PER QUARTER = 12 TOTAL FLASH CARDS Details on assignments to follow ‘TIMELINE FLASH CARDS’ for each piece in the 250 IMAGE SET will act GAME (WAR) as Instructional tools to help students learn the material FIELD TRIP (?) ‘HANDS ON’ STUDIO PROJECTS ~$15-$20 FREE CARDS! APRIL, 2021 -More info to come when possible or appropriate ANALYSIS ‘UNIT TESTS’ based on roughly 30 images each METHODS SUMMATIVE Assessment of learning in Units ‘CONCEPT MAPS’ for each piece in the 250 $94 IMAGE SET will act as Instructional tools to VISUAL help students learn the material ‘AP ART HISTORY EXAM’ THURS MAY 6, 2021 12PM shared via
    [Show full text]
  • 11 Leadership Lessons from Julius Caesar
    11 LEADERSHIP LESSONS FROM JULIUS CAESAR If there ever was a most characteristic military leader in history, that was Julius Caesar. Beyond his indisputable ability for strategy, the Roman General stood apart due to his prowess in leadership and his ability to transmit his wisdom and vision to the troops he was commanding who in turn gave Caesar their trust and loyalty. Caesar was born into a patrician family, the gens Julia, which claimed descent from Iulus, son of the legendary Trojan Prince Aeneas. Due to instability in Rome and because of Sullas proscriptions, Caesar the age of 19 Caesar joined the army and served with distinction at the Siege of Mytilene earning the Civic crown. After hearing of Sulla’s death, Caesar thought it safe to return to Rome although Pirates captured him and although eventually released he swore he would hunt them down and kill them, an act he successfully completed. Caesar climbed up the political ladder throughout his life eventually becoming Proconsul of Cisalpine Gaul and Illyricum. Caesar went on to become the greatest General and statesman of his era in which he attained ultimate power and received the title ‘Dictator for life’. However, the underlying political conflicts had not been resolved and on the Ides of March, 44 BC, Caesar was assassinated by a group of rebellious senators led by Gaius Cassius Longinus, Marcus Junius Brutus and Decimus Junius Brutus. Caesar thought differently than his contemporaries and to help us to understand why he stood out as arguably the Greatest Roman who ever lived. Here are some lessons that a bright dead personality could teach us were they alive today, Gaius Julius Caesar – a man so successful in his time that his last name became synonymous with “Emperor”.
    [Show full text]