Victoria E. Pagán
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Transantiquity
TransAntiquity TransAntiquity explores transgender practices, in particular cross-dressing, and their literary and figurative representations in antiquity. It offers a ground-breaking study of cross-dressing, both the social practice and its conceptualization, and its interaction with normative prescriptions on gender and sexuality in the ancient Mediterranean world. Special attention is paid to the reactions of the societies of the time, the impact transgender practices had on individuals’ symbolic and social capital, as well as the reactions of institutionalized power and the juridical systems. The variety of subjects and approaches demonstrates just how complex and widespread “transgender dynamics” were in antiquity. Domitilla Campanile (PhD 1992) is Associate Professor of Roman History at the University of Pisa, Italy. Filippo Carlà-Uhink is Lecturer in Classics and Ancient History at the University of Exeter, UK. After studying in Turin and Udine, he worked as a lecturer at the University of Heidelberg, Germany, and as Assistant Professor for Cultural History of Antiquity at the University of Mainz, Germany. Margherita Facella is Associate Professor of Greek History at the University of Pisa, Italy. She was Visiting Associate Professor at Northwestern University, USA, and a Research Fellow of the Alexander von Humboldt Foundation at the University of Münster, Germany. Routledge monographs in classical studies Menander in Contexts Athens Transformed, 404–262 BC Edited by Alan H. Sommerstein From popular sovereignty to the dominion -
Clifford Ando Department of Classics 1115 East 58Th Street
Clifford Ando Department of Classics 1115 East 58th Street Chicago, IL 60637 Phone: 773.834.6708 [email protected] September 2020 CURRENT POSITION • David B. and Clara E. Stern Distinguished Service Professor; Professor of Classics, History and in the College, University of Chicago • Chair, Department of Classics, University of Chicago (2017–2020, 2021-2024) EDITORIAL ACTIVITY • Series editor, Empire and After. University of Pennsylvania Press • Senior Editor, Bryn Mawr Classical Review • Editor, Know: A Journal on the Formation of Knowledge • Editorial Board, Classical Philology • Editorial Board, The History and Theory of International Law, Oxford University Press • Editorial Board, Critical Analysis of Law • Editorial Board, L'Homme. Revue française d'anthropologie • Correspondant à l'étranger, Revue de l'histoire des religions EDUCATION • Ph.D., Classical Studies. University of Michigan, 1996 • B.A., Classics, summa cum laude. Princeton University, 1990 PRIZES, AWARDS AND NAMED LECTURES • Edmund G. Berry Lecture, University of Manitoba, 2018 • Sackler Lecturer, Mortimer and Raymond Sackler Institute of Advanced Studies, Tel Aviv University, 2017/2018 • Humanities Center Distinguished Visiting Scholar, University of Tennessee, 2017 • Elizabeth Battelle Clarke Legal History Colloquium, Boston University School of Law, 2017 • Maestro Lectures 2015, Academia Sinica, Taipei, Taiwan • Harry Carroll Lecture, Pomona College, March 2015 • Lucy Shoe Merritt Scholar in Residence, American Academy in Rome, 2014-2015 • Friedrich Wilhelm -
Classical Mythology in the Victorian Popular Theatre Edith Hall
Pre-print of Hall, E. in International Journal of the Classical Tradition, (1998). Classical Mythology in the Victorian Popular Theatre Edith Hall Introduction: Classics and Class Several important books published over the last few decades have illuminated the diversity of ways in which educated nineteenth-century Britons used ancient Greece and Rome in their art, architecture, philosophy, political theory, poetry, and fiction. The picture has been augmented by Christopher Stray’s study of the history of classical education in Britain, in which he systematically demonstrates that however diverse the elite’s responses to the Greeks and Romans during this period, knowledge of the classical languages served to create and maintain class divisions and effectively to exclude women and working-class men from access to the professions and the upper levels of the civil service. This opens up the question of the extent to which people with little or no education in the classical languages knew about the cultures of ancient Greece and Rome. One of the most important aspects of the burlesques of Greek drama to which the argument turned towards the end of the previous chapter is their evidential value in terms of the access to classical culture available in the mid-nineteenth century to working- and lower- middle-class people, of both sexes, who had little or no formal training in Latin or Greek. For the burlesque theatre offered an exciting medium through which Londoners—and the large proportion of the audiences at London theatres who travelled in from the provinces—could appreciate classical material. Burlesque was a distinctive theatrical genre which provided entertaining semi-musical travesties of well-known texts and stories, from Greek tragedy and Ovid to Shakespeare and the Arabian Nights, between approximately the 1830s and the 1870s. -
New Latin Grammar
NEW LATIN GRAMMAR BY CHARLES E. BENNETT Goldwin Smith Professor of Latin in Cornell University Quicquid praecipies, esto brevis, ut cito dicta Percipiant animi dociles teneantque fideles: Omne supervacuum pleno de pectore manat. —HORACE, Ars Poetica. COPYRIGHT, 1895; 1908; 1918 BY CHARLES E. BENNETT PREFACE. The present work is a revision of that published in 1908. No radical alterations have been introduced, although a number of minor changes will be noted. I have added an Introduction on the origin and development of the Latin language, which it is hoped will prove interesting and instructive to the more ambitious pupil. At the end of the book will be found an Index to the Sources of the Illustrative Examples cited in the Syntax. C.E.B. ITHACA, NEW YORK, May 4, 1918 PREFACE TO THE SECOND EDITION. The present book is a revision of my Latin Grammar originally published in 1895. Wherever greater accuracy or precision of statement seemed possible, I have endeavored to secure this. The rules for syllable division have been changed and made to conform to the prevailing practice of the Romans themselves. In the Perfect Subjunctive Active, the endings -īs, -īmus, -ītis are now marked long. The theory of vowel length before the suffixes -gnus, -gna, -gnum, and also before j, has been discarded. In the Syntax I have recognized a special category of Ablative of Association, and have abandoned the original doctrine as to the force of tenses in the Prohibitive. Apart from the foregoing, only minor and unessential modifications have been introduced. In its main lines the work remains unchanged. -
The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame. -
Troy Myth and Reality
Part 1 Large print exhibition text Troy myth and reality Please do not remove from the exhibition This two-part guide provides all the exhibition text in large print. There are further resources available for blind and partially sighted people: Audio described tours for blind and partially sighted visitors, led by the exhibition curator and a trained audio describer will explore highlight objects from the exhibition. Tours are accompanied by a handling session. Booking is essential (£7.50 members and access companions go free) please contact: Email: [email protected] Telephone: 020 7323 8971 Thursday 12 December 2019 14.00–17.00 and Saturday 11 January 2020 14.00–17.00 1 There is also an object handling desk at the exhibition entrance that is open daily from 11.00 to 16.00. For any queries about access at the British Museum please email [email protected] 2 Sponsor’sThe Trojan statement War For more than a century BP has been providing energy to advance human progress. Today we are delighted to help you learn more about the city of Troy through extraordinary artefacts and works of art, inspired by the stories of the Trojan War. Explore the myth, archaeology and legacy of this legendary city. BP believes that access to arts and culture helps to build a more inspired and creative society. That’s why, through 23 years of partnership with the British Museum, we’ve helped nearly five million people gain a deeper understanding of world cultures with BP exhibitions, displays and performances. Our support for the arts forms part of our wider contribution to UK society and we hope you enjoy this exhibition. -
The Invisibility of Juvenal James Uden Submitted in Partial Fulfillment of Th
The Invisibility of Juvenal James Uden Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 2011 James Uden All rights reserved. ABSTRACT The Invisibility of Juvenal James Uden This dissertation offers a reading of Juvenal’s Satires. It maintains that Juvenal consciously frustrates readers’ attempts to identify his poetic voice with a single unitary character or persona. At the same time, it argues that Juvenal’s poems are influenced in both form and theme by cultural trends in the early second century. The arguments staged in these poems constitute a critique of aspects of Roman intellectual culture in the reigns of Trajan and Hadrian. Contents Preface 1. Provoking the Charge: Epic Poet and Reticent Informer in Satire One The Recitation Hall (Part One) The Paradox of Contemporary Epic The Satirist as Delator The Crisis of Criticism Satiric Voices in Tacitus’ Dialogus de Oratoribus The Recitation Hall (Part Two) 2. The Invisibility of Juvenal ‘Atopic Topology’: The Thirteenth Oration of Dio Chrysostom Juvenal’s Second Satire: Strategies for Speech and Disguise Secrecy and Violence in Satire Nine 3. Satire Four: Playing the Panegyrist The Art of Exaggeration The Emperor over Nature Natural Reversal and Fish Savagery The Perils of Panegyrical Speech i 4. Cynic Philosophy and Ethical Education in Satires Ten and Fourteen Debasing the Coinage The Laugh of Democritus and the Cynic Ideal Satire Fourteen: The Domestication of Ethical Teaching 5. Satire Twelve: Repetition and Sacrifice in Hadrianic Rome Horatian Ritual and the “New Augustus” Substitution and Sacrifice: Animals and Humans in Satire Twelve The Gods and their Captatores Reading across Books: Atheism and Superstition in Satire Thirteen Appendix: Martial 12.18 and the Dating of Juvenal’s First Book ii ACKNOWLEDGMENTS Thanks must go first to Gareth Williams, friend and mentor for the past half-decade. -
Danaus Βουγενής: Greco-Egyptian Mythology and Ptolemaic Kingship Alexandros Kampakoglou
Danaus βουγενής: Greco-Egyptian Mythology and Ptolemaic Kingship Alexandros Kampakoglou HE THIRD BOOK of Callimachus’s Aetia opens with an elegy that celebrates the chariot victory of Queen Berenice II in the Nemean games (frr.54–60j).1 Accord- T 2 ing to the introductory couplet, the Victoria Berenices is offered by Callimachus to Zeus and Nemea as a gift on behalf of his patron, Berenice II: Ζηνί τε κα⸤ὶ Νεµέηι τι χαρίσιον ἕδνον ὀφείλω⸥, νύµφα, κα[σιγνή]τ̣ων ἱερὸν αἷµα θεῶν, ἡµ[ε]τ̣ερο.[......].εων ἐπινίκιον ἵππω̣[ν]. To Zeus and Nemea I owe a gift of gratitude, nymph, sacred blood of the sibling gods, our victory song […] of horses. Zeus and Nemea appear as the receivers of Callimachus’ gift because of their connection with the Nemean games: the myth of the Victoria Berenices narrates the killing of the Nemean lion but memorializes the creation by Heracles of the wreath that Nemean victors received as a prize. The mythic part of the poem concludes with a sacrifice to Zeus performed jointly by Heracles and Molorcus (fr.60c.8–10). The frame mirrors, in this regard, the actions of the myth: Heracles offers a sacrifice to his divine father with the assistance of his host, Molorcus; Berenice consecrates the elegy to Zeus, the divine progenitor of 1 I cite the edition of A. Harder, Callimachus. Aetia I–II (Oxford 2012); translations are my own. 2 This is the title given to the first elegy of Book 3 by P. J. Parsons, “Cal- limachus: Victoria Berenices,” ZPE 25 (1977) 1–51. -
Clifford Ando Department of Classics 1115 East 58Th Street Chicago, IL
Clifford Ando Department of Classics 1115 East 58th Street Chicago, IL 60637 Phone: 773.834.6708 [email protected] April 2021 CURRENT POSITION • David B. and Clara E. Stern Distinguished Service Professor; Professor of Classics, History and in the College, University of Chicago • Chair, Department of Classics, University of Chicago (2017–2020, 2021-2024) EDITORIAL ACTIVITY • Series editor, Empire and After. University of Pennsylvania Press • Senior Editor, Bryn Mawr Classical Review • Editor, Know: A Journal on the Formation of Knowledge • Editorial Board, Classical Philology • Editorial Board, The History and Theory of International Law, Oxford University Press • Editorial Board, Critical Analysis of Law • Editorial Board, L'Homme. Revue française d'anthropologie • Correspondant à l'étranger, Revue de l'histoire des religions EDUCATION • Ph.D., Classical Studies. University of Michigan, 1996 • B.A., Classics, summa cum laude. Princeton University, 1990 PRIZES, AWARDS AND NAMED LECTURES • Edmund G. Berry Lecture, University of Manitoba, 2018 • Sackler Lecturer, Mortimer and Raymond Sackler Institute of Advanced Studies, Tel Aviv University, 2017/2018 • Humanities Center Distinguished Visiting Scholar, University of Tennessee, 2017 • Elizabeth Battelle Clarke Legal History Colloquium, Boston University School of Law, 2017 • Maestro Lectures 2015, Academia Sinica, Taipei, Taiwan • Harry Carroll Lecture, Pomona College, March 2015 • Lucy Shoe Merritt Scholar in Residence, American Academy in Rome, 2014-2015 • Friedrich Wilhelm Bessel -
2019 Awards To
AIRLIFT / TANKER QUARTERLY Volume Number FALL 2019 27 04 THE AIRLIFT / TANKER ASSOCIATION Pages 12-15 Air Transportation Career Field “Port Dawgs” and the Air Transportation Legacy Team 2019 HALL OF FAME INDUCTEE 2019 A/TA Pages 26-54 AWARDS A SALUTE Pages 56-65 TO OUR INDUSTRY PARTNERS UsingUsingUsingUsing the thethe the latest latestlatest latest AirliftAirlift Support Support AirliftAirlift Support Support technologytechnologytechnologytechnology to toto to provide provideprovide provide thethethethe greatest greatestgreatest greatest good. good.good. good. PhotoPhoto courtesy courtesy of of U.S. U.S. Air Air Force Force PhotoPhoto courtesy courtesy of U.S.of U.S. Air Air Force Force YouYou can’t can’t be be a a force force for for peace peace if if your your equipment equipment isn’t isn’t ready. ready. That’s That’s why why we we YouYou can’t can’t be be a force a force for for peace peace if yourif your equipment equipment isn’t isn’t ready. ready. That’s That’s why why we we partnerpartner with with you you to to offer offer the the performance-based performance-based logistics, logistics, technology technology upgrades, upgrades, partnerpartner with with you you to tooffer offer the the performance-based performance-based logistics, logistics, technology technology upgrades, upgrades, andand reliability reliability improvement improvement programs programs that that will will renew renew aircraft aircraft and and help help deliver deliver andand reliability reliability improvement improvement programs programs that that will will renew renew aircraft aircraft and and help help deliver deliver salvationsalvation as as cost cost effectively effectively as as cargo. -
JUST ONE LOOK an Exhibition of Contemporary Book Arts Exploring the Theme of Women and Vision
JUST ONE LOOK An Exhibition of Contemporary Book Arts Exploring the theme of Women and Vision University of Washington Libraries Special Collections Seattle, Washington March 31 - July 29, 2016 Wendy Huntington Sarah Kate Moore Lauren Dudley Dr. Sarah Kathryn Moore as the goddess Athena TABLE OF CONTENTS Curator’s Introduction: “The First Look: How It All Began” 4 LAUREN DUDLEY Curator’s Introduction: “Inspiration, Vision & the Artists’ Book” 5 SANDRA KROUPA Classics Introduction: “More Than One Look” 6 CATHERINE CONNORS Sibyls of the Classical World 8 LAURA DAVIDSON The Goddess Book 10 MAR GOMAN REFLEXIONS 12 HARRIET BART A woman’s work 14 EMMA SCHULTE Vertices: Love in a Maze 16 HELEN HIEBERT Daedalion 18 LAUREN DUDLEY Apparitions Among Us 20 LOU CABEEN Bold Heart, Magnificent Beast 22 LAURA RUSSELL Bitter Chocolate 24 JULIE CHEN Cupid And Psyche 26 MARI ECKSTEIN GOWER Algêdones Ophthalmôn: Painful to the Eyes 28 ALEXANDER HOLLMANN Girdled 30 JESSICA SPRING object n. object v. 32 DIANE JACOBS Seeing the unsighted: Synecdoche 34 ROBBIN AMI SILVERBERG Mermaid: An Epic Salish Merwoman Story 36 CHARLES HOBSON Sola: A Mythical Story About A Real Girl 38 CATHERINE ALICE MICHAELIS The Dragon King’s Daughter 40 HANNAH BRUCKBAUER My Soul Wants to Fly 42 BEANNE HULL Riddle to Reason 44 KATHRYN LEONARD Scheherazade. Woman of Persia 46 SUZANNE MOORE Mirror Mirror (or, The Tainted Tain) 48 ROBBIN AMI SILVERBERG Medea 50 ELSI VASSDAL ELLIS getting what you want turns everything around 52 MARE BLOCKER Age Before Beauty 54 CHANDLER O’LEARY & JESSICA -
[PDF]The Myths and Legends of Ancient Greece and Rome
The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia