Mycenaean Times: Was There a Dark
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Minting America: Coinage and the Contestation of American Identity, 1775-1800
ABSTRACT MINTING AMERICA: COINAGE AND THE CONTESTATION OF AMERICAN IDENTITY, 1775-1800 by James Patrick Ambuske “Minting America” investigates the ideological and culture links between American identity and national coinage in the wake of the American Revolution. In the Confederation period and in the Early Republic, Americans contested the creation of a national mint to produce coins. The catastrophic failure of the paper money issued by the Continental Congress during the War for Independence inspired an ideological debate in which Americans considered the broader implications of a national coinage. More than a means to conduct commerce, many citizens of the new nation saw coins as tangible representations of sovereignty and as a mechanism to convey the principles of the Revolution to future generations. They contested the physical symbolism as well as the rhetorical iconology of these early national coins. Debating the stories that coinage told helped Americans in this period shape the contours of a national identity. MINTING AMERICA: COINAGE AND THE CONTESTATION OF AMERICAN IDENTITY, 1775-1800 A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of History by James Patrick Ambuske Miami University Oxford, Ohio 2006 Advisor______________________ Andrew Cayton Reader_______________________ Carla Pestana Reader_______________________ Daniel Cobb Table of Contents Introduction: Coining Stories………………………………………....1 Chapter 1: “Ever to turn brown paper -
Annotated Edition
ElizabethanDrama.org presents the Annotated Popular Edition of THE PICTURE A TRUE HUNGARIAN HISTORY by Philip Massinger Performed 1629 First Published 1630 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2019. This annotated play may be freely copied and distributed. 1 THE PICTURE A True Hungarian History By Philip Massinger Performed 1629 First Published 1630 A Tragecomedie, As it was often presented with good allowance, at the Globe, and Blacke Friers Play-houses, by the Kings Maiesties Servants. DRAMATIS PERSONAE. INTRODUCTION TO THE PLAY The Hungarian Court: The Picture, by Philip Massinger, is a highly entertaining drama-comedy which explores what happens to people who Ladislaus, king of Hungary. are unable or unwilling to control their feelings and Honoria, the queen. affections: unchecked suspicion, embarrassingly Acanthe, maid of honour. unrestrained adoration, and even immoderate lust, all will Sylvia, maid of honour. be repaid. The Picture is likely the only Elizabethan play Ferdinand, general of the army. to take place in Hungary's ancient royal capital, Alba Eubulus, an old counsellor. Regalis, modern Székesfehérvár. Ubaldo, a wild courtier. Ricardo, a wild courtier. NOTES ON THE TEXT Bohemian Characters: The text of The Picture is adopted from Gifford's edition of our play, cited at #16 below, but with some Mathias, a knight of Bohemia. of the 1630 quarto's original spellings restored. Sophia, wife to Mathias. Hilario, servant to Sophia. NOTES ON THE ANNOTATIONS Corisca, Sophia's woman. Julio Baptista, a great scholar. References in the annotations to Gifford refer to the notes supplied by editor W. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Ancient History Sourcebook: 11Th Brittanica: Sparta SPARTA an Ancient City in Greece, the Capital of Laconia and the Most Powerful State of the Peloponnese
Ancient History Sourcebook: 11th Brittanica: Sparta SPARTA AN ancient city in Greece, the capital of Laconia and the most powerful state of the Peloponnese. The city lay at the northern end of the central Laconian plain, on the right bank of the river Eurotas, a little south of the point where it is joined by its largest tributary, the Oenus (mount Kelefina). The site is admirably fitted by nature to guard the only routes by which an army can penetrate Laconia from the land side, the Oenus and Eurotas valleys leading from Arcadia, its northern neighbour, and the Langada Pass over Mt Taygetus connecting Laconia and Messenia. At the same time its distance from the sea-Sparta is 27 m. from its seaport, Gythium, made it invulnerable to a maritime attack. I.-HISTORY Prehistoric Period.-Tradition relates that Sparta was founded by Lacedaemon, son of Zeus and Taygete, who called the city after the name of his wife, the daughter of Eurotas. But Amyclae and Therapne (Therapnae) seem to have been in early times of greater importance than Sparta, the former a Minyan foundation a few miles to the south of Sparta, the latter probably the Achaean capital of Laconia and the seat of Menelaus, Agamemnon's younger brother. Eighty years after the Trojan War, according to the traditional chronology, the Dorian migration took place. A band of Dorians united with a body of Aetolians to cross the Corinthian Gulf and invade the Peloponnese from the northwest. The Aetolians settled in Elis, the Dorians pushed up to the headwaters of the Alpheus, where they divided into two forces, one of which under Cresphontes invaded and later subdued Messenia, while the other, led by Aristodemus or, according to another version, by his twin sons Eurysthenes and Procles, made its way down the Eurotas were new settlements were formed and gained Sparta, which became the Dorian capital of Laconia. -
From Femme Ideale to Femme Fatale: Contexts for the Exotic Archetype In
From Femme Idéale to Femme Fatale: Contexts for the Exotic Archetype in Nineteenth-Century French Opera A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Jessica H. Grimmer BM, University of Cincinnati June 2011 Committee chair: Jonathan Kregor, PhD i ABSTRACT Chromatically meandering, even teasing, Carmen’s Seguidilla proves fatally seductive for Don José, luring him to an obsession that overrides his expected decorum. Equally alluring, Dalila contrives to strip Samson of his powers and the Israelites of their prized warrior. However, while exotic femmes fatales plotting ruination of gentrified patriarchal society populated the nineteenth-century French opera stages, they contrast sharply with an eighteenth-century model populated by merciful exotic male rulers overseeing wandering Western females and their estranged lovers. Disparities between these eighteenth and nineteenth-century archetypes, most notably in treatment and expectation of the exotic and the female, appear particularly striking given the chronological proximity within French operatic tradition. Indeed, current literature depicts these models as mutually exclusive. Yet when conceptualized as a single tradition, it is a socio-political—rather than aesthetic—revolution that provides the basis for this drastic shift from femme idéale to femme fatale. To achieve this end, this thesis contains detailed analyses of operatic librettos and music of operas representative of the eighteenth-century French exotic archetype: Arlequin Sultan Favorite (1721), Le Turc généreux, an entrée in Les Indes Galantes (1735), La Recontre imprévue/Die Pilgrime von Mekka (1764), and Die Entführung aus dem Serail (1782). -
Sage Is , Based Pressure E Final Out- Rned by , : Hearts, Could Persuade
Xerxes' War 137 136 Herodotus Book 7 a match for three Greeks. The same is true of my fellow Spartans. fallen to the naval power of the invader. So the Spartans would have They are the equal of any men when they fight alone; fighting to stood alone, and in their lone stand they would have performed gether, they surpass all other men. For they are free, but not entirely mighty deeds and died nobly. Either that or, seeing the other Greeks free: They obey a master called Law, and they fear this master much going over to the Persians, they would have come to terms with more than your men fear you. They do whatever it commands them Xerxes. Thus, in either case, Greece would have been subjugated by the Persians, for I cannot see what possible use it would have been to to do, and its commands are always the same: Not to retreat from the fortify the Isthmus if the king had had mastery over the sea. battlefield even when badly outnumbered; to stay in formation and either conquer or die. So if anyone were to say that the Athenians were saviors of "If this talk seems like nonsense to you, then let me stay silent Greece, he would not be far off the truth. For it was the Athenians who held the scales in balance; whichever side they espoused would henceforth; I spoke only under compulsion as it is. In any case, sire, I be sure to prevail. It was they who, choosing to maintain the freedom hope all turns out as you wish." of Greece, roused the rest of the Greeks who had not submitted, and [7.105] That was Demaratus' response. -
Copyrighted Material
9781405129992_6_ind.qxd 16/06/2009 12:11 Page 203 Index Acanthus, 130 Aetolian League, 162, 163, 166, Acarnanians, 137 178, 179 Achaea/Achaean(s), 31–2, 79, 123, Agamemnon, 51 160, 177 Agasicles (king of Sparta), 95 Achaean League: Agis IV and, agathoergoi, 174 166; as ally of Rome, 178–9; Age grades: see names of individual Cleomenes III and, 175; invasion grades of Laconia by, 177; Nabis and, Agesilaus (ephor), 166 178; as protector of perioecic Agesilaus II (king of Sparta), cities, 179; Sparta’s membership 135–47; at battle of Mantinea in, 15, 111, 179, 181–2 (362 B.C.E.), 146; campaign of, in Achaean War, 182 Asia Minor, 132–3, 136; capture acropolis, 130, 187–8, 192, 193, of Phlius by, 138; citizen training 194; see also Athena Chalcioecus, system and, 135; conspiracies sanctuary of after battle of Leuctra and, 144–5, Acrotatus (king of Sparta), 163, 158; conspiracy of Cinadon 164 and, 135–6; death of, 147; Acrotatus, 161 Epaminondas and, 142–3; Actium, battle of, 184 execution of women by, 168; Aegaleus, Mount, 65 foreign policy of, 132, 139–40, Aegiae (Laconian), 91 146–7; gift of, 101; helots and, Aegimius, 22 84; in Boeotia, 141; in Thessaly, Aegina (island)/Aeginetans: Delian 136; influence of, at Sparta, 142; League and,COPYRIGHTED 117; Lysander and, lameness MATERIAL of, 135; lance of, 189; 127, 129; pro-Persian party on, Life of, by Plutarch, 17; Lysander 59, 60; refugees from, 89 and, 12, 132–3; as mercenary, Aegospotami, battle of, 128, 130 146, 147; Phoebidas affair and, Aeimnestos, 69 102, 139; Spartan politics and, Aeolians, -
Greek Mythology
Greek Mythology The Creation Myth “First Chaos came into being, next wide bosomed Gaea(Earth), Tartarus and Eros (Love). From Chaos came forth Erebus and black Night. Of Night were born Aether and Day (whom she brought forth after intercourse with Erebus), and Doom, Fate, Death, sleep, Dreams; also, though she lay with none, the Hesperides and Blame and Woe and the Fates, and Nemesis to afflict mortal men, and Deceit, Friendship, Age and Strife, which also had gloomy offspring.”[11] “And Earth first bore starry Heaven (Uranus), equal to herself to cover her on every side and to be an ever-sure abiding place for the blessed gods. And earth brought forth, without intercourse of love, the Hills, haunts of the Nymphs and the fruitless sea with his raging swell.”[11] Heaven “gazing down fondly at her (Earth) from the mountains he showered fertile rain upon her secret clefts, and she bore grass flowers, and trees, with the beasts and birds proper to each. This same rain made the rivers flow and filled the hollow places with the water, so that lakes and seas came into being.”[12] The Titans and the Giants “Her (Earth) first children (with heaven) of Semi-human form were the hundred-handed giants Briareus, Gyges, and Cottus. Next appeared the three wild, one-eyed Cyclopes, builders of gigantic walls and master-smiths…..Their names were Brontes, Steropes, and Arges.”[12] Next came the “Titans: Oceanus, Hypenon, Iapetus, Themis, Memory (Mnemosyne), Phoebe also Tethys, and Cronus the wily—youngest and most terrible of her children.”[11] “Cronus hated his lusty sire Heaven (Uranus). -
UNIVERSITY of CALIFORNIA Los Angeles Homer's Roads Not Taken
UNIVERSITY OF CALIFORNIA Los Angeles Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Craig Morrison Russell 2013 ABSTRACT OF THE DISSERTATION Homer’s Roads Not Taken Stories and Storytelling in the Iliad and Odyssey by Craig Morrison Russell Doctor of Philosophy in Classics University of California, Los Angeles, 2013 Professor Alex C. Purves, Chair This dissertation is a consideration of how narratives in the Iliad and Odyssey find their shapes. Applying insights from scholars working in the fields of narratology and oral poetics, I consider moments in Homeric epic when characters make stories out of their lives and tell them to each other. My focus is on the concept of “creativity” — the extent to which the poet and his characters create and alter the reality in which they live by controlling the shape of the reality they mould in their storytelling. The first two chapters each examine storytelling by internal characters. In the first chapter I read Achilles’ and Agamemnon’s quarrel as a set of competing attempts to create the authoritative narrative of the situation the Achaeans find themselves in, and Achilles’ retelling of the quarrel to Thetis as part of the move towards the acceptance of his version over that of Agamemnon or even the Homeric Narrator that occurs over the course of the epic. In the second chapter I consider the constant storytelling that [ii ] occurs at the end of the Odyssey as a competition between the families of Odysseus and the suitors to control the narrative that will be created out of Odysseus’s homecoming. -
Pausanias' Description of Greece
BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA. -
First Printing: January 2009 Copyright © 2009 By
First printing: January 2009 Copyright © 2009 by Larry and Marion Pierce. All rights reserved. No part of this book may be used or re- produced in any manner whatsoever without written permission of the publisher, except in the case of brief quotations in articles and reviews. For information write: Master Books®, P.O. Box 726, Green Forest, AR 72638. ISBN-13: 978-0-89051-556-3 ISBN-10: 0-89051-556-5 Library of Congress Number: 2008940813 Cover by Diana Bogardus Printed in the United States of America Please visit our website for other great titles: www.masterbooks.net For information regarding author interviews, please contact the publicity department at (870) 438-5288. The Chronology of Ancient Kingdoms Amended. Prefixed by A Short Chronicle from the Earliest History of Europe, to the Conquest of Persia by Alexander the Great. By Sir Isaac Newton. London: Printed for J. Tonson in the Strand, and J. Osborn and T. Longman in Pater-noster Row. MDCCXXVIII. Revised Edition by Larry and Marion Pierce, 2008. ® Table of Contents Preface to the Queen .....................................................................................................................................5 Notice to the Reader .....................................................................................................................................7 Introduction to the Short Chronology ........................................................................................................11 A Short Chronology from Earliest European History to Alexander the -
Pronunciation Booklet
PRONUNCIATION BOOKLET Word Phonetic pronunciation (mine) What Meaning (if known) Actual sacred space or enclosure attached to a temple of ab-are-ton Abaton Asclepius where those wanting to be cured slept Acayo a-key-owe Fictional character - a Spartan soldier Greek name meaning out of step/ill-timed Acropolis ac-rop-o-liss Actual fortified part of a city, normally built on a hill Actual ancient Greek King of Athens, father of the hero Aegeus ee-gee-us Greek name meaning protection Theseus Actual Ancient Greek name given to the public open space Agora ag-or-are Greek name meaning gathering place or assembly used for markets Agrias ag-ree-us Fictional character - Alexis' father, and King of Trachis Greek name of unknown meaning Aigai ay-gay Greek name meaning place of goats Actual ancient first capital of Macedonia, now called Vergina Fictional character - Princess of Thermopylae, daughter of Greek name meaning helper and defender (can be male Alexis al-ex-us Agrias & Melina or female name) Amazonomachiai am-a-zon-e-mack-ee Plural of the battle of the Amazonomachy Portrayal of a mythical battle between the Amazons and Amazonomachy am-a-zon-e-mack-ee Amazon battle Ancient Greeks Amphissa am-f-iss-are Actual ancient city in Phocis, now known as Amfissa Greek name meaning surround Actual Ancient Greek jar or jug with two handles and a Amphora am-for-a From Greek word amphoreus meaning to bear narrow neck (singular) Amphorae am-for-i Actual plural of the Ancient Greek jars or jugs called amphora Amyntas arm-in-t-us Actual King of Macedonia Amyntas