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ROMAN ARCHITEXTURE: the IDEA of the MONUMENT in the ROMAN IMAGINATION of the AUGUSTAN AGE by Nicholas James Geller a Dissertatio
ROMAN ARCHITEXTURE: THE IDEA OF THE MONUMENT IN THE ROMAN IMAGINATION OF THE AUGUSTAN AGE by Nicholas James Geller A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Associate Professor Basil J. Dufallo, Chair Associate Professor Ruth Rothaus Caston Professor Bruce W. Frier Associate Professor Achim Timmermann ACKNOWLEDGEMENTS This dissertation would not have been possible without the support and encouragement of many people both within and outside of academia. I would first of all like to thank all those on my committee for reading drafts of my work and providing constructive feedback, especially Basil Dufallo and Ruth R. Caston, both of who read my chapters at early stages and pushed me to find what I wanted to say – and say it well. I also cannot thank enough all the graduate students in the Department of Classical Studies at the University of Michigan for their support and friendship over the years, without either of which I would have never made it this far. Marin Turk in Slavic Languages and Literature deserves my gratitude, as well, for reading over drafts of my chapters and providing insightful commentary from a non-classicist perspective. And I of course must thank the Department of Classical Studies and Rackham Graduate School for all the financial support that I have received over the years which gave me time and the peace of mind to develop my ideas and write the dissertation that follows. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………………ii LIST OF ABBREVIATIONS……………………………………………………………………iv ABSTRACT……………………………………………………………………………………....v CHAPTER I. -
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters. -
The Necessity of Rodin by Eric Gibson
Features December 2017 The necessity of Rodin by Eric Gibson On four exhibitions across the world that commemorate the centennial of Auguste Rodin’s death. The idea was too tempting to resist: see as many of the displays commemorating the one-hundredth anniversary of Auguste Rodin’s death (born in 1840, he died in 1917) as possible, in an effort to take, once and for all, the measure of this artist and to come to terms with the paradox of his legacy. Though widely recognized as “the father of modern sculpture,” Rodin was repudiated by those who came after, most famously by Constantin Brancusi. No single exhibition has ever seemed equal to the task of capturing the essence of this artist. Perhaps, I thought, an approach as various and discontinuous as Rodin’s art itself, one that took in multiple exhibitions, would do the trick. The checklists would overlap, but the individual emphases would vary, producing a kaleidoscopic image of the artist through whose multiple facets and fragments might emerge a clearer picture than that provided by a unitary, more tightly circumscribed effort. But which exhibitions? There are eight in the No single exhibition has ever United States, one in France, and one in Mexico, as well as six permanent collection seemed equal to the task of installations in America. I eliminated any that capturing the essence of Rodin. didn’t focus exclusively on Rodin, and those featuring large numbers of the posthumous bronze casts that have so distorted our perception of the artist. That left four shows: Paris, New York, Philadelphia, and Cleveland. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable). -
Guide for Educators
FRENCH ART at the SAINT LOUIS ART MUSEUM Guide for Educators © 2019 University of Missouri – St. Louis French Art at the Saint Louis Art Museum Guide for Educators Table of Contents Introduction to the Guide . ii Acknowledgments . iii The Middle Ages . 1 The Renaissance . 12 The Seventeenth Century . 25 The Eighteenth Century . 40 The Nineteenth Century . 80 The Twentieth Century . 156 The Twenty-First Century . 194 Suggested Activities . 197 © 2019 University of Missouri – St. Louis i French Art at the Saint Louis Art Museum Guide for Educators Introduction to the Guide for Educators French Art at the Saint Louis Art Museum is a learning resource developed by the University of Missouri-St. Louis, with assistance from the Saint Louis Art Museum and the Consulate of France in Chicago. This Guide is intended to assist the educator in a course of art history or French as a second language. It contains useful information for introducing students to French art, in a cultural and historical context. Each page of the Guide includes texts which are found on the website of the Learning Resource, https://frenchart.umsl.edu. In that site, you can hear the French texts by clicking on the audiophone icon: The texts give a short overview of each work, followed by a comment on The Historical Moment, The Artistic Genre, and The Artist (if he or she is known). In addition, the Guide offers several questions for the educator to ask students, in a verbal discussion or written composition. Below the small images in the Guide, you will find supplementary information that is not found in the website: the material of composition (for example, limestone or oil on canvas), the dimensions of the work, and the accession number (for example, 3:1935) in the Saint Louis Art Museum. -
Brilliant Minds Wiki Spring 2016 Contents
Brilliant Minds Wiki Spring 2016 Contents 1 Rigveda 1 1.1 Text .................................................... 1 1.1.1 Organization ........................................... 2 1.1.2 Recensions ............................................ 2 1.1.3 Rishis ............................................... 3 1.1.4 Manuscripts ............................................ 3 1.1.5 Analytics ............................................. 3 1.2 Contents .................................................. 4 1.2.1 Rigveda Brahmanas ........................................ 5 1.2.2 Rigveda Aranyakas and Upanishads ............................... 5 1.3 Dating and historical context ....................................... 5 1.4 Medieval Hindu scholarship ........................................ 7 1.5 Contemporary Hinduism ......................................... 7 1.5.1 Atheism, Monotheism, Monism, Polytheism debate ....................... 7 1.5.2 Mistranslations, misinterpretations debate ............................ 8 1.5.3 “Indigenous Aryans” debate .................................... 8 1.5.4 Arya Samaj and Aurobindo movements .............................. 8 1.6 Translations ................................................ 8 1.7 See also .................................................. 8 1.8 Notes ................................................... 8 1.9 References ................................................. 9 1.10 Bibliography ................................................ 12 1.11 External links .............................................. -
The Characterization of Medea, Didio, Ariadne and Deianira in Ovid's
The Characterization of Medea, Dido, Ariadne and Deianira in Ovid's Heroides and Metamorphoses carissimis parentibus THE CHARACTERIZATION OF MEDEA, DIDO, ARIADNE AND DEIANIRA IN OVID'S HEROIDES AND METAMORPHOSES by MARY CATHERINE BOLTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University @ copyright by Mary Catherine Bolton, 1989 DOCTOR OF PHILOSOPHY McMASTER UNIVERSITY (Roman Studies) Hamilton, Ontario TITLE: The characterization of Medea, Dido, Ariadne and Deianira in Ovid's Hero ides and Metamorphoses. AUTHOR: Mary Catherine Bolton, B.A. (Carleton University) M.A. (Queen's University) SUPERVISOR: Professor A.G. McKay NUMBER OF PAGES: viii, 319 ii Abstract Ovid's characterization of women has long been recognized as revealing an understanding of the female psyche. This is shown not only in his love poetry, but also in his depiction of women in the Heroides and Metamorphoses. The Hero ides in particular offered considerable scope for the portrayal of women in a state of crisis and for an exploration of their anxieties and conflicts. The verse letters reveal Ovid's interest in portraying women at an early point in his literary career, an interest which he continued throughout his writing career and which again finds expression in the Metarmorphoses. While Howard Jacobson's study (Princeton, 1974) treats all the single letters, Florence Verducci (Princeton, 1985) has restricted her work to five of the fifteen single letters. Little attempt has been made to trace Ovid's depiction of women from the Heroides into his later works. -
The Building of Verse: Descriptions of Architectural Structures in Roman Poetry
The Building of Verse: Descriptions of Architectural Structures in Roman Poetry Elizabeth Jane Crofton-Sleigh A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Catherine Connors, Chair Alain Gowing Kathryn Topper Program Authorized to Offer Degree: Classics © Copyright 2014 Elizabeth Jane Crofton-Sleigh University of Washington Abstract The Building of Verse: Descriptions of Architectural Structures in Roman Poetry Elizabeth Jane Crofton-Sleigh Chair of Supervisory Committee: Professor Catherine Connors Classics The Building of Verse: Descriptions of Architectural Structures in Roman Poetry examines depictions of architecture in the literature of the Roman poets Virgil, Ovid, Horace, Propertius, Statius, and Martial. These poets, whose careers span the most significant building programs of ancient Rome, from the Age of Augustus through the Flavian period (ca. 31 BC – AD 96), often build ekphrases, or extended literary descriptions, around residences, temples, and other structures within their poetry. Besides the poetic evidence, I look at Vitruvius’ well-known architectural treatise, also written during the building-rich Augustan period, to explore how the poets share in the description of architectural elements and building practices found in his contemporaneous work. I argue that the depictions of architectural structures in these poets are never meant to function solely as settings but rather are intentionally included to more fully develop and vivify the poem’s vocabulary, imagery, and overall narrative and/or purpose. The first chapter highlights the poetic treatment of caverns and grottoes. It establishes that the poets use a fully developed architectural vocabulary to describe the natural dwellings of monsters and divine beings, as well as the related ideas that these poetically created natural habitats reflect their owners and can even refer to real structures in the Roman world. -
The Greek Myths 1955, Revised 1960
Robert Graves – The Greek Myths 1955, revised 1960 Robert Graves was born in 1895 at Wimbledon, son of Alfred Perceval Graves, the Irish writer, and Amalia von Ranke. He went from school to the First World War, where he became a captain in the Royal Welch Fusiliers. His principal calling is poetry, and his Selected Poems have been published in the Penguin Poets. Apart from a year as Professor of English Literature at Cairo University in 1926 he has since earned his living by writing, mostly historical novels which include: I, Claudius; Claudius the God; Sergeant Lamb of the Ninth; Count Belisarius; Wife to Mr Milton (all published as Penguins); Proceed, Sergeant Lamb; The Golden Fleece; They Hanged My Saintly Billy; and The Isles of Unwisdom. He wrote his autobiography, Goodbye to All That (a Penguin Modem Classic), in 1929. His two most discussed non-fiction books are The White Goddess, which presents a new view of the poetic impulse, and The Nazarene Gospel Restored (with Joshua Podro), a re-examination of primitive Christianity. He has translated Apuleius, Lucan, and Svetonius for the Penguin Classics. He was elected Professor of Poetry at Oxford in 1962. Contents Foreword Introduction I. The Pelasgian Creation Myth 2. The Homeric And Orphic Creation Myths 3. The Olympian Creation Myth 4. Two Philosophical Creation Myths 5. The Five Ages Of Man 6. The Castration Of Uranus 7. The Dethronement Of Cronus 8. The Birth Of Athene 9. Zeus And Metis 10. The Fates 11. The Birth Of Aphrodite 12. Hera And Her Children 13. Zeus And Hera 14. -
Who's Who in Classical Mythology
Who’s Who in Classical Mythology The Routledge Who’s Who series Accessible, authoritative and enlightening, these are the definitive biographical guides to a diverse range of subjects drawn from literature and the arts, history and politics, religion and mythology. Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Christianity Lavinia Cohn-Sherbok Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Contemporary Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in Contemporary Women’s Writing Edited by Jane Eldridge Miller Who’s Who in Contemporary World Theatre Edited by Daniel Meyer-Dinkegräfe Who’s Who in Dickens Donald Hawes Who’s Who in Europe 1450–1750 Henry Kamen Who’s Who in Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in the Greek World John Hazel Who’s Who in Jewish History Joan Comay, revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Modern History Alan Palmer Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in the Roman World John Hazel Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who of Twentieth-Century Novelists Tim Woods Who’s Who in Twentieth-Century World Poetry Edited by Mark Willhardt -
L-G-0003003249-0005711859.Pdf
A HISTORY OF ROMAN ArT A HISTORY OF ROMAN ArT STEVEN L. TUCK This edition first published 2015 © 2015 Steven L. Tuck Registered Office John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Steven L. Tuck to be identified as the author of this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose.