On Rome's Ecological Contribution to British Flora and Fauna
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Apollo 14 Press
NATIONAL AERONAUTICS AND SPACE ADMINISTRATION WO 2-4155 WASHINGT0N.D.C. 20546 lELS.wo 36925 RELEASE NO: 71-3K FOR RELEASE: THURSDAY A. M . January 21, 1971 P R E S S K I T -more - 1/11/71 2 -0- NATIONAL AERONAUTICS AND SPACE ADMINISTRATION (m2) 962-4155 N E w s WASHINGTON,D.C. 20546 mu: (202) 963-6925 FOR RELEASE: THURSDAY A..M. January 21:, 1971 RELEASE NO: 71-3 APOLLO 14 LAUNCH JAN. 31 Apollo 14, the sixth United States manned flight to the Moon and fourth Apollo mission with an objective of landing men on the Moon, is scheduled for launch Jan. 31 at 3:23 p.m. EST from Kennedy Space Center, Fla. The Apollo 14 lunar module is to land in the hilly upland region north of the Fra Mauro crater for a stay of about 33 hours, during whick, the landing crew will leave the spacecraft twice to set up scientific experiments on the lunar surface and to continue geological explorations. The two earlier Apollo lunar landings were Apollo 11 at Tranquillity Base and Apollo 12 at Surveyor 3 crater in the Ocean of Storms. Apollo 14 prime crewmen are Spacecraft Commander Alan B. Shepard, Jr., Command Module Pilot Stuart A. Roosa, and Lunar Module Pilot Edgar I). Mitchell. Shepard is a Navy car-sain Roosa an Air Force major and Mitchell a Navy commander. -more- 1/8/71 -2- Lunar materials brought- back from the Fra Mauro formation are expected to yield information on the early history of the Moon, the Earth and the solar system--perhaps as long ago as five billion years. -
Kynomartyrion)
DOG SACRIFICE IN ANCIENT AND MODERN GREECE: FROM THE SACRIFICE RITUAL TO DOG TORTURE (KYNOMARTYRION) Manolis G. Sergis Abstract: The article presents and discusses the custom of kynomartyrion (dog torture) which took place in the Greek lands until the 1980s. In many areas it stopped in the 1930s because of its cruelty. The author begins his discussion with the presentation of some elements that are related to the dog. More spe- cifically, the dog is an animal that entered the humanized environment long ago and belongs to the creatures whose nature is twofold because it is part of the human and the non-human worlds and it has been treated as twofold by at least the Indo-Europeans. It is also maintained that the liminal Hellenistic period was decisive for the formation of folk worship because of the religious syncre- tism and the invasion of demons that dominated in the Eastern Mediterranean. The author points out its remarkable similarities to ancient Greek and Roman (and Indo-European) fertile, cathartic and other sacrificial practices. Due to industrialization of agriculture and rationalization of the magical way of thought of the “traditional” peasant, performance of the custom was transformed into a folkloric, spectacular one with intensely violent and sadistic behaviour on the part of humans in the places where it still took place after 1960. The writer argues that violence was always an inherent characteristic of the custom. None- theless, the archaic, and later folk thinking ritualized the performance and attributed to it a different facet, devoid of any sacred elements, during the 20th century where its inherent violence was manifested in its raw essence. -
Names of Botanical Genera Inspired by Mythology
Names of botanical genera inspired by mythology Iliana Ilieva * University of Forestry, Sofia, Bulgaria. GSC Biological and Pharmaceutical Sciences, 2021, 14(03), 008–018 Publication history: Received on 16 January 2021; revised on 15 February 2021; accepted on 17 February 2021 Article DOI: https://doi.org/10.30574/gscbps.2021.14.3.0050 Abstract The present article is a part of the project "Linguistic structure of binomial botanical denominations". It explores the denominations of botanical genera that originate from the names of different mythological characters – deities, heroes as well as some gods’ attributes. The examined names are picked based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012. The names of the plants are arranged in alphabetical order. Beside each Latin name is indicated its English common name and the family that the particular genus belongs to. The article examines the etymology of each name, adding a short account of the myth based on which the name itself is created. An index of ancient authors at the end of the article includes the writers whose works have been used to clarify the etymology of botanical genera names. Keywords: Botanical genera names; Etymology; Mythology 1. Introduction The present research is a part of the larger project "Linguistic structure of binomial botanical denominations", based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012 [1]. The article deals with the botanical genera appellations that originate from the names of different mythological figures – deities, heroes as well as some gods’ attributes. According to ICBN (International Code of Botanical Nomenclature), "The name of a genus is a noun in the nominative singular, or a word treated as such, and is written with an initial capital letter (see Art. -
Rape and Reconciliation: Flora in the Fasti
Rape and Reconciliation: Flora in the Fasti Although a number of supernatural transformations are effected by means of rape or other violence in the Fasti, Flora’s is unusual in the level of power to which she rises as a consequence of this violence. In this story (5.195-220), Flora begins as a nymph named Chloris, who is abducted and raped by Zephyrus. She is initially resistant to him, but he wins her over by formalizing their marriage and bestowing upon her a large garden, in addition to divine authority over flowers, transforming her into the Italian goddess Flora. As a rape narrative, Flora’s story is noteworthy for two reasons. First, although rape is an offense that categorically deprives the victim of power (Brownmiller 1975, Richlin 1992, Horvath 2009), Flora nevertheless gains a remarkable degree of power as a consequence of her rape (in this way her story closely models Raval’s analysis of Persephone in Ovid’s Metamorphoses): not only is she granted social acknowledgment as the wife of Zephyrus and the leverage that can be exercised as a god’s wife, she is accepted into the confraternity of gods, no longer a minor Greek nymph but a full Italian goddess, whose celebrations and worship are enshrined in the Roman calendar . She is given not only the property encompassed by her garden, but divine authority over flowers, to the extent that she can commemorate remarkable humans by transforming them to flowers, and even reveals to Juno the secret of parthenogenesis. The power she gains is even evidenced in the means by which her story is revealed in the Fasti: she narrates it unmediated to the reader; she herself is the authority guaranteeing the veracity of the story (Murgatroyd 2005). -
Minerva Facility Operations (Commonwealth) Environment Plan Summary
MINERVA FACILITY OPERATIONS (COMMONWEALTH) ENVIRONMENT PLAN SUMMARY Document No: APU-000338 © 2012 BHP Billiton Petroleum Pty Ltd: This document and information is the sole property of BHP Billiton Petroleum Pty Ltd and may not be exploited, used, copied, duplicated or reproduced in any form or medium without the prior permission of BHP Billiton Petroleum Pty Ltd. Revision History MINERVA OFFSHORE FACILITIES OPERATIONS ENVIRONMENT PLAN SUMMARY Contents 1 INTRODUCTION 3 2 LOCATION OF THE FACILITY 4 3 DESCRIPTION OF THE ACTIVITY 6 3.1 Timing ........................................................................................................................................ 6 4 DESCRIPTION OF RECEIVING ENVIRONMENT 7 4.1 Natural Environment .................................................................................................................. 7 4.2 Biological Environment .............................................................................................................. 8 4.3 Socio-Economic Environment.................................................................................................... 9 5 ENVIRONMENTAL IMPACTS, RISKS AND CONTROLS 10 6 MANAGEMENT APPROACH AND PERFORMANCE MONITORING 14 7 OIL SPILL CONTINGENCY PLAN 14 8 CONSULTATION 14 9 CONTACT DETAILS 15 10 REFERENCES 15 This document may contain proprietary and/or confidential information. This document is a controlled document. BHP Billiton Petroleum | 2 MINERVA OFFSHORE FACILITIES OPERATIONS ENVIRONMENT PLAN SUMMARY 1 INTRODUCTION BHP Billiton Petroleum -
The Triumph of Flora
Myths of Rome 01 repaged 23/9/04 1:53 PM Page 1 1 THE TRIUMPH OF FLORA 1.1 TIEPOLO IN CALIFORNIA Let’s begin in San Francisco, at the California Palace of the Legion of Honor in Lincoln Park. Through the great colonnaded court, past the Corinthian columns of the porch, we enter the gallery and go straight ahead to the huge Rodin group in the central apse that dominates the visitor’s view. Now look left. Along a sight line passing through two minor rooms, a patch of colour glows on the far wall. We walk through the Sichel Glass and the Louis Quinze furniture to investigate. The scene is some grand neo-classical park, where an avenue flanked at the Colour plate 1 entrance by heraldic sphinxes leads to a distant fountain. To the right is a marble balustrade adorned by three statues, conspicuous against the cypresses behind: a muscular young faun or satyr, carrying a lamb on his shoulder; a mature goddess with a heavy figure, who looks across at him; and an upright water-nymph in a belted tunic, carrying two urns from which no water flows. They form the static background to a riotous scene of flesh and drapery, colour and movement. Two Amorini wrestle with a dove in mid-air; four others, airborne at a lower level, are pulling a golden chariot or wheeled throne, decorated on the back with a grinning mask of Pan. On it sits a young woman wearing nothing but her sandals; she has flowers in her hair, and a ribboned garland of flowers across her thighs. -
Ovid Imagining Flora John F. Miller (University of Virginia)
Ovid Imagining Flora John F. Miller (University of Virginia) This paper discusses the remarkable degree to which Ovid in his Fasti defines Flora—and the speaking goddess defines herself—in comparison and contradistinction to other female divinities. The phenomenon illustrates the problem of constructing a history for a goddess with little (if any) prior mythology, even while Ovid establishes parallels and lays bare tensions between the Floralia and other feasts in the Augustan calendar, and allows a minor deity whose festal honors included controversial entertainments (e.g. striptease) to assert her self-importance and validate his own calendrical elegy (on the last see Newlands, Playing with Time). I focus on three comparandae. 1. Recent scholarship (Barchiesi, Fantham, Pasco-Pranger) has drawn attention to the gap opened up between the new, solemn Augustan anniversary of Palatine Vesta on April 28 and the traditional start of the jocund Floralia that day. The poet postpones the latter until the next month in order to meet the challenge of the grandius . opus (4.948) that Vesta’s feast presents. One may add that Ovid’s celebration of Flora in May keeps us very much in mind of the ‘displacement.’ The poet emphatically acknowledges his postponement to Flora at the start and attributes to her the somewhat dubious honor of owning the “borderland” between the two months. The opening collocation Mater, ades (5.183) recurs from 4.828 (only in these two verses), where it is addressed to Vesta (4.828), thereby, in effect, repairing the earlier slight to Flora even as it recalls it. -
Apollo of Belvedere, Venus De’ Medici, Flora Farnese)
Leonid Taruashvili The Joy of Flying: An Essay Concerning the History of Early Modern Atectonic Misinterpretation of Exemplary Antiquities (Apollo of Belvedere, Venus de’ Medici, Flora Farnese) Erschienen 2020 auf Propylaeum-DOK URN: urn:nbn:de:bsz:16-propylaeumdok-48567 DOI: https://doi.org/10.11588/propylaeumdok.00004856 URL: http://archiv.ub.uni-heidelberg.de/propylaeumdok/volltexte/2020/4856 The Joy of Flying: An Essay Concerning the History of Early Modern Atectonic Misinterpretation of Exemplary Antiquities (Apollo of Belvedere, Venus de’ Medici, Flora Farnese) L.Taruashvili Key words: Greco-Roman sculpture, afterlife of antiquity, Early Modern literature, reception of Greco-Roman sculpture, misinterpretation of Greco-Roman sculpture, atectonic vision, history of art studies. Abstract: Some opinions expressed mainly during the 18th and 19th c about figurative content of three famous Greco-Roman statues – Apollo of Belvedere, Venus de’ Medici, Flora Farnese – and considered in this paper are only few of innumerable evidences of Early Modern unreadiness for the adequate comprehension and – as a result – adoption of antiquity’s classical style. It is just the inadequacy of these opinions to their subject, what seems to be the most interesting in them. Of these opinions, the misinterpretations of Flora Farnese are especially noteworthy, helping to understand better the nature of their authors’ predisposition to the atectonic effects and to recognize in it one of the multifarious manifestations of tendency towards the ambiguous, which is alien in essence to the ancient classical style, whose determining property is clearness. Some judgements expressed mainly during the 18th and 19th c about figurative content of famous Greco-Roman statues and considered in this paper are only few of numerous evidences of early modern inherent unreadiness for the adequate comprehension and adoption of antiquity’s classical style. -
Theatre Survey Albion's “Chaste Lucrece”
Theatre Survey http://journals.cambridge.org/TSY Additional services for Theatre Survey: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Albion's “Chaste Lucrece”: Chastity, Resistance, and the Glorious Revolution in the Career of Anne Bracegirdle James Peck Theatre Survey / Volume null / Issue 01 / May 2004, pp 89 - 113 DOI: 10.1017/S0040557404000079, Published online: 01 May 2004 Link to this article: http://journals.cambridge.org/abstract_S0040557404000079 How to cite this article: James Peck (2004). Albion's “Chaste Lucrece”: Chastity, Resistance, and the Glorious Revolution in the Career of Anne Bracegirdle. Theatre Survey, null, pp 89-113 doi:10.1017/S0040557404000079 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TSY, IP address: 192.104.181.248 on 21 Nov 2014 Theatre Survey 45:1 (May 2004) James Peck ALBION’S “CHASTE LUCRECE”: CHASTITY, RESISTANCE,AND THE GLORIOUS REVOLUTION IN THE CAREER OF ANNE BRACEGIRDLE By all indications, the public persona of the late Restoration actress Anne Bracegirdle was built on the speculative foundation of maidenhead. A leading ingénue of multiple talents, Bracegirdle played significant roles in comedy, tragedy, and music-drama from her debut in 1688 to her retirement in 1707. In comedy, Bracegirdle specialized in marriageable young women of rank, wit, and fortune.1 In serious drama, Bracegirdle often played the pathetic heroine, a virtuous woman stalked by a predatory man.2 Though primarily an actress, Bracegirdle also called upon her impressive soprano voice in many entr’actes and the occasional musical part.3 A first-rank player and hardworking company member from very early in her career, Bracegirdle played some eighty roles over a nineteen-year span that kept her consistently before the public eye. -
Planets in Ancient Mesopotamia
Enn Kasak, Raul Veede UNDERSTANDING PLANETS IN ANCIENT MESOPOTAMIA This is a copy of the article from printed version of electronic journal Folklore Vol. 16 ISSN 1406-0957 Editors Mare Kõiva & Andres Kuperjanov Published by the Folk Belief and Media Group of ELM Electronic Journal of Folklore Electronic version ISSN 1406-0949 is available from http://haldjas.folklore.ee/folklore It’s free but do give us credit when you cite! © Folk Belief and Media Group of ELM, Andres Kuperjanov Tartu 2001 6 UNDERSTANDING PLANETS IN ANCIENT MESOPOTAMIA Enn Kasak, Raul Veede On our planet time flows evenly everywhere but the history as we know it has different length and depth in every place. Maybe the deepest layer of history lies in the land between Tigris and Eufrat – Mesopotamia (Greek Mesopotam a ‘the land between two rivers’). It is hard to grasp how much our current culture has inherited from the people of that land – be it either the wheel, the art of writing, or the units for measuring time and angles. Science and knowledge of stars has always – though with varying success – been important in European culture. Much from the Babylonian beliefs about con- stellations and planets have reached our days. Planets had an im- portant place in Babylonian astral religion, they were observed as much for calendrical as astrological purposes, and the qualities of the planetary gods were carried on to Greek and Rome. The following started out as an attempt to compose a list of planets together with corresponding gods who lend their names and quali- ties to the planets. -
Delimitation of Funga As a Valid Term for the Diversity of Fungal Communities: the Fauna, Flora & Funga Proposal (FF&F)
Delimitation of Funga as a valid term for the MYCOLENS diversity of fungal communities: the Fauna, Flora & Funga proposal (FF&F) Francisco Kuhar1, Giuliana Furci2, Elisandro Ricardo Drechsler-Santos3, and Donald H. Pfister4 1Instituto Multidisciplinario de Biología Vegetal (CONICET-UNC), Universidad Nacional de Córdoba, CC 495, 5000 Córdoba, Argentina; corresponding author e-mail: [email protected] 2Fundación Fungi, José Zapiola 8240 E, La Reina, Santiago 7860292, Chile 3Programa de Pós-Graduação em Biologia de Fungos, Algas e Plantas (PPGFAP), Departamento de Botânica Universidade Federal de Santa Catarina (UFSC), Florianópolis, Santa Catarina 88040-900, Brasil 4Department of Organismic and Evolutionary Biology, Harvard University, 22 Divinity Avenue, Cambridge, MA 02138, USA Abstract: As public policies and conservation requirements for biodiversity evolve there is a need for a term for the kingdom Fungi equivalent to Fauna and Flora. This need is considered to be urgent in order to simplify projects oriented toward implemention of educational and conservation goals. In an informal meeting held during the IX Congreso Latinoamericano de Micología by the authors, the idea of clarifying this matter initiated an extensive search of pertinent terminologies. As a result of these discussions and reviews, we propose that the word Funga be employed as an accurate and encompassing term for these purposes. This supports the proposal of the three Fs, Fauna, Flora and Funga, to highlight parallel terminology referring to treatments of these macrorganism of particular geographical areas. Alternative terms and proposals are acknowledged and discussed. Key words: conservation, mycobiota, mycota INTRODUCTION have appeared referring to mythological word fungus, which in turn derives from the and/or literary beings. -
Paul Barolsky
Botticelli’s Primavera and the Poetic Imagination of Italian Renaissance Art PAUL BAROLSKY Toward the center of a bower of love, the god- dess of love herself, hand raised delicately in sweet saluta- tion, beckons the beholder into her beflowered dream world, a pleasance or locus amoenus, a place of pleasure and beauty, of love past, indeed of ancient primordial love renewed as Zephyr pursues Chloris who is transformed into Flora before our very eyes. At Venus’ side the goddess’s handmaidens, the Graces, embody their very grace in dance, while Cupid above, personification of desire, aims his flaming arrow at one of these three sisters. Turned away as if indifferent to them, Mercury gazes heavenward in contemplation of what lies beyond this enchanted world permeated by mute music, si- lent song (fig. 1). The Primavera is now so much a part of our historical con- sciousness and aesthetic heritage that it is hard to believe that after Vasari briefly mentioned it in his Lives of the artists from the middle years of the sixteenth century, the painting was all but forgotten until the end of the nineteenth century, when Botticelli’s art was rediscovered. The painter’s lyrical work was eclipsed by the taste for the grand manner of Rapha- el and the art that followed him, which dominated the mod- ern sensibility until the revival of interest in the pre-Raphaelite. Botticelli’s picture is now almost universally believed to be a work described in an inventory of 1499 of Lorenzo di Pier- francesco de’ Medici, cousin of the more famous Lorenzo il Magnifico.