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Narrative Strategies: Communication in the Plays of Aeschylus and Sophocles
UNIVERSITY COLLEGE LONDON PhD THESIS NARRATIVE STRATEGIES: COMMUNICATION IN THE PLAYS OF AESCHYLUS AND SOPHOCLES BARBARA LOUISE COWARD B!BL LONDON ProQuest Number: 10045693 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10045693 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT This thesis explores narrative theories and their application to ancient tragedy. It is divided into three sections: SECTION I argues that it is valid to apply narrative theory to drama. It then questions the view that narrative and drama should be understood as polarised modes of communication ("showing" versus "telling", in twentieth century terms). It argues for intrinsic advantages in message narrative. All narratives in tragic rhesis are then divided into two temporal categories (1) short- range narratives, including the "messenger speech" and (2) longer range narratives of portent, prophecy, dream and curse (PPDCs). Within the episodes of tragedy, a suspenseful structure is often built up by a juxtaposition of (1) and (2). SECTION II: AESCHYLUS' surviving work is fluid in structure. However, he shows a tendency to create suspense by the build-up of deliberate delays and deceits together with an ambiguous dream or prophecy. -
Helen and Pandora: a Comparative Study with Emphasis on the Eidolon Theme As a Concept of Eris
SOTEROULA CONSTANTINIDOU HELEN AND PANDORA: A COMPARATIVE STUDY WITH EMPHASIS ON THE EIDOLON THEME AS A CONCEPT OF ERIS "In a small-scale society myth tends to be viewed as the encoding of that society’s concept of truth; at the same time, from the viewpoint of We stern civilization, myth has become the opposite of fact, the antithesis of truth” (Gregory Nagy, Foreword to R.P. Martin, The Language of Heroes. Speech and Performance in the Iliad, Ithaca and London 1989, ix) *. This work is a comparative study of the myths of Helen and Pan dora* 1 with emphasis on the eidolon theme as a concept of eris and on the interaction between mytkos and logos. My aim is to read this theme in a different perspective, i.e. as a device of strife; as such, the eidolon- eris concept is personified in Helen’s heroic figure and gives heioic saga a stimulating version about the Cause of the Trojan War! More over, the idea of the association of Helen and Pandora is put forward here, as both figures acquired the mythical details of an image, of a phantom, although each one with essential discrepancies: for example, Pandora’s existence was confined to that of a phantom, a false creation rather than a human being, from the very beginning, whereas Helen’s ccanti-myth” makes her trespass from the world of the real to that of the eidola, of the imitation of the real. Thus, the two mythologi ♦ I wish to thank Professors Deborah Boedeker and Kurt Raaflaub for their useful comments on a much earlier and brief version of this work presented at the Center for Hellenic Studies in Washington D.C., in the summer of 1999. -
The English Dream Vision
The English Dream Vision ANATOMY OF A FORM J. Stephen Russell The English Dream Vision ANATOMY OF A FORM By J. Stephen Russell The first-person dream-frame nar rative served as the most popular English poetic form in the later Mid dle Ages. In The English Dream Vision, Stephen Russell contends that the poetic dreams of Chaucer, Lang- land, the Pearl poet, and others employ not simply a common exter nal form but one that contains an internal, intrinsic dynamic or strategy as well. He finds the roots of this dis quieting poetic form in the skep ticism and nominalism of Augustine, Macrobius, Guillaume de Lorris, Ockham, and Guillaume de Conches, demonstrating the interdependence of art, philosophy, and science in the Middle Ages. Russell examines the dream vision's literary contexts (dreams and visions in other narratives) and its ties to medieval science in a review of medi eval teachings and beliefs about dreaming that provides a valuable survey of background and source material. He shows that Chaucer and the other dream-poets, by using the form to call all experience into ques tion rather than simply as an authen ticating device suggesting divine revelation, were able to exploit con temporary uncertainties about dreams to create tense works of art. continued on back flap "English, 'Dream Vision Unglisfi (Dream Vision ANATOMY OF A FORM J. Stephen Russell Ohio State University Press • Columbus Copyright © 1988 by the Ohio State University Press. All rights reserved. Quotations from the works of Chaucer are taken from The Complete Works of Geoffrey Chaucer, ed. -
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Peitho, Dolos, and Bia in Three Late Euripidean Tragedies
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-30-2021 2:00 PM Peitho, Dolos, and Bia in Three Late Euripidean Tragedies Christian Bot, The University of Western Ontario Supervisor: Brown, Christopher G., The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Master of Arts degree in Classics © Christian Bot 2021 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Classical Literature and Philology Commons Recommended Citation Bot, Christian, "Peitho, Dolos, and Bia in Three Late Euripidean Tragedies" (2021). Electronic Thesis and Dissertation Repository. 7778. https://ir.lib.uwo.ca/etd/7778 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. ii Abstract The themes of peitho (persuasion), dolos (trickery), and bia (violence or physical force) are central to the action of the three late Euripidean tragedies that I explore: Iphigenia in Tauris, Iphigenia in Aulis, and the Bacchae. I examine how these themes influence characters' interpersonal relations, drive plot development, and determine the "mood" of each play in terms of a spectrum from optimism to pessimism. Summary for Lay Audience I examine three plays by the Ancient Greek tragedian Euripides (ca. 480-406 BC), each of them written during the later stages of his career: Iphigenia in Tauris (ca. 412 BC), Iphigenia in Aulis, and the Bacchae (both produced posthumously in 405 BC). -
Aeschylus, Genealogy, History
SHADOWS ON THE SON: AESCHYLUS, GENEALOGY, HISTORY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Richard Evan Rader Jr., M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Anthony Kaldellis, Adviser Professor Tom Hawkins _____________________________ Adviser Professor Bruce Heiden Greek and Latin Graduate Program ABSTRACT This dissertation examines genealogy and history in Prometheus Bound, Seven against Thebes, and Persians. It asks how a character‘s relation to his own family history affects his perspective on the past. I argue that in each play the conflict between a son and a father, say between Xerxes and Darius, is replicated at the level of a theory of history. Genealogy suggests two different relations between the past generations and the present, since it is both a reproduction of the same (the ideal son who takes after his father) and a production of difference (the son can never be identical to the father). These two genealogical relations correspond to two theories of history: what I identify as a retrospective view of history, which transfigures discrete historical events into teleology and inevitability, where history becomes the movement of necessity; and a prospective one, which sees historical events as only the trace of desire, hope, potential and human agency, where history becomes the movement of what could have been, the contingent unfolding of unlimited possibilities. In the Prometheus Bound, for example, Aeschylus stages the discord between Zeus and Prometheus as a conflict between two views on history: Prometheus leverages a secret about Zeus‘ sexual desire against him because he sees a necessity of repetition in Zeus‘ genealogical past; but Zeus, the play stresses, is fully capable of reason, compromise, and collaboration, and thus his future (unlike his predecessors‘) remains open to will, desire, and choice. -
This Book — the Only History of Friendship in Classical Antiquity That Exists in English
This book — the only history of friendship in classical antiquity that exists in English - examines the nature of friendship in ancient Greece and Rome from Homer (eighth century BC) to the Christian Roman Empire of the fourth century AD. Although friendship is throughout this period conceived of as a voluntary and loving relationship (contrary to the prevailing view among scholars), there are major shifts in emphasis from the bonding among warriors in epic poetry, to the egalitarian ties characteristic of the Athenian democracy, the status-con- scious connections in Rome and the Hellenistic kingdoms, and the commitment to a universal love among Christian writers. Friendship is also examined in relation to erotic love and comradeship, as well as for its role in politics and economic life, in philosophical and religious communities, in connection with patronage and the private counsellors of kings, and in respect to women; its relation to modern friendship is fully discussed. Cambridge Books Online © Cambridge University Press, 2010 Downloaded from Cambridge Books Online by IP 147.231.79.110 on Thu May 20 13:43:40 BST 2010. Cambridge Books Online © Cambridge University Press, 2010 Cambridge Books Online © Cambridge University Press, 2010 Downloaded from Cambridge Books Online by IP 147.231.79.110 on Thu May 20 13:43:40 BST 2010. Cambridge Books Online © Cambridge University Press, 2010 KEYTHEMES IN ANCIENT HISTORY Friendship in the classical world Cambridge Books Online © Cambridge University Press, 2010 Downloaded from Cambridge Books Online by IP 147.231.79.110 on Thu May 20 13:43:40 BST 2010. Cambridge Books Online © Cambridge University Press, 2010 KEY THEMES IN ANCIENT HISTORY EDITORS Dr P. -
War and the Warrior: Functions of Ares in Literature and Cult1
War and the Warrior: Functions of Ares in Literature and Cult Alexander T. Millington UCL Dissertation submitted for the degree of PhD in History 2013 1 I, Alexander Millington, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract This dissertation presents a new interpretative synthesis of the sources relating to the cults, identities, and functions of the god Ares, focusing on the Archaic and Classic periods. An apparent dichotomy is identified: in many respects, the evidence suggests that Ares must have been a very important god throughout much of the Greek world throughout the Archaic and Classic periods (and beyond), but in other respects the evidence suggests that he was not. I argue that this dichotomy does not derive from changes in the popularity, relevance, or nature of the god, as has been proposed. Instead, I argue that the elements of Ares’ cults and representations which suggest that Ares was unpopular or unimportant derive from those which made him important and continually relevant. I argue that because Ares was identified with war, attitudes towards the god directly reflect Greek attitudes towards war. War’s importance as an element of Greek life, and the god’s power as a causal force with it, led to deep respect for Ares, reflected by widespread cult, and a place among the great Olympians. But the wild, destructive, and unpredictable nature of war, which Ares represented, meant that he was not a regular recipient of large-scale celebratory cult. -
Moros Y Cristianos En La Sainza (Ourense)
MOROS Y CRISTIANOS EN LA SAINZA (OURENSE) ENRIQUE BANDE RODRíGUEZ La ceTierra de los Lirnicos- es una tie depresión tectónica que en su día al Bentraces, Oirnbra y la Armada en la rra de leyendas. Entre otras muchas bergó el «Lago Beon». La llanura está parroquia de Santa María de Cartelle. tenemos la del rio Lethes o del Olvido, rodeada de las Torres de Sandianes, Donde tiene más arraigo es en la la de Antioquía, ciudad asulagada por Pena, Celme y Porqueira. Unas tierras Sainza. Los orígenes de esta fiesta se los pecados nefandos de sus habitan ganadas a la Laguna de Antela en el basan en una historia con raices en la tes (1), la del martirio de Santa Marina fondo de la cual dicen las crónicas y la Reconquista, en una acción local en la y de los Moros y Cristianos. Como leyenda que permanece enterrada la que los naturales de la comarca lucha prueba de esta última tenemos el ciudad de Antioquía, alusión al diluvio ron contra los musulmanes derrotán «Combate o Lucha de Moros y que asulagó la ciudad. En la Sainza dolos. Esta victoria se la atribuyeron a Cristianos», llamado vulgarmente «el se celebra el 24 de septiembre una ro la Virgen de la Merced. Otros con más ataque» en la Sainza, un pueblo per mería en la que podemos presenciar rigor histórico opinan que este suceso teneciente a la parroquia de San Juan el «ataque » popularmente conocido no se pudo dar en las tierras de la de Rairiz de Veiga, ayuntamiento de como «Lucha de Moros y Cristianos». -
La Emigración Mudéjar Al Reino De Granada En Tiempo De Los Reyes Católicos Mudejar Emigration to the Kingdom of Granada in the Time of the Cathollc Monarchs
La emigración mudéjar al reino de Granada en tiempo de los Reyes Católicos Mudejar emigration to the Kingdom of Granada in the time of the Cathollc Monarchs José Enrique LÓPEZ DE COCA CASTAÑER Universidad de Málaga a Orígenes de la emigración de musulmanes mudéjares de otros reinos peninsulares a la PALABRAS Granada nazari. Aumento de su importancia después de la conquista e incorporación a CLAVE = Castilla, pese a las prohibiciones. rjemplos destacados de mercaderes, artesanos y mudé Reyes ¡ares sin oficio fi¡o o vagabundos, y medidas tomadas por los reyes para expulsarlos o Católicos. buscarles nueva residencia, entre 1492 y 1515. Granada. Mudelares. m~ Gr igins of Muslim Mudejar emigration from other peninsular kingdoms to Nasrid Granada. UY Its increasing importance aher the conquest and incorporation into Castile, despite WORDS ~ prohibitions. Notable examples of merchants, artisans and other Mudejars without fixed Catholic ~ professions or vagabonds, and the monarchs attempts to expel or relocate them between Monarchs. 4 1492and1515. Granada. Mudejars. SUMARIO 1. Una emigración que viene de antiguo. 2-Artesanos, mercaderes y vaga- bundos (1492-1 515). 3. ¿Expulsión o regularización? 4. A manera de conclusión. Hace años publiqué un artículo sobre el carácter selectivo que tuvo la emigracióncastellana al reino de Granada después de su conquista. En él demostraba que los Reyes Católicos se habían ocupadode impedir el asentamientocomo repobladores de marginados sociales, judíos y. en general, de todos aquellos que tuvieran cuentas pendientes con la Inquisición. Sin embargo, me pasó desapercibidala llegada a tierras granadinas de mudéjares procedentes de Castilla yde otros reinos peninsulares. Ahora creo que ha llegado el momento de remediar ese despiste’. -
Heroic Man and Polymetis: Odysseus in the Cyclopeia Rainer Friedrich
FRIEDRICH, RAINER, Heroic Man and "Polymetis": Odysseus in the "Cyclopeia" , Greek, Roman and Byzantine Studies, 28:2 (1987:Summer) p.121 Heroic Man and Polymetis: Odysseus in the Cyclopeia Rainer Friedrich In memoriam Alfred Heubeck HE TRADITIONAL interpretation of the Cyclopeia focuses on the T triumph of Odysseus' cunning intelligence (metis) over the Cy clops' brute force (hie): the aristeia, as it were, of Odysseus the "'many-wiled man" (po/ymetis). In a recent restatement of the tradi tional view, J. S. Clay accordingly characterized the hero of the Cyclo peia as the "quintessential man of metis."1 As the aristeia of Odysseus po/ymetis, the Cyclopeia has become a virtually emblematic tale dem onstrating the superiority of the civilized life to the primitive life, still largely sunk in nature.2 No doubt the traditional interpretation is a sound one; yet an un resolved problem remains. In this adventure Odysseus is far from acting consistently as the quintessential man of metis. D. B. Monro, for one, noted a quite uncharacteristic lack of prudence on the part of the po/ymetis: he is "the leader who thrusts himself, against the advice of his wiser companions, into the monster's cave, who tricks and then provokes him by useless and foolhardy threats."3 More recent critics echo Monro's comments. In W. B. Stanford's view, Odysseus' "fool hardy boastfulness" after the escape from the cave shows a "general lack of prudence and self-control," which he finds "quite uncharac teristic of his usual conduct."4 Kirk goes so far as to note a serious I The Wrath 0/ Athena (Princeton 1983) 112f. -
Furies, the Pdf Free Download
FURIES, THE PDF, EPUB, EBOOK John Jakes | 480 pages | 07 Sep 2004 | Penguin Putnam Inc | 9780451212832 | English | New York, United States Furies, the PDF Book Whom seek they? Plato, Phaedo d ff trans. Release date. In the comic opera Trial by Jury by W. He borrows from banks, pays hired hands with his own script "T. Virgil, Georgics 4. Clear your history. Running time. Anaheim Albert Dekker They arrive on horseback armed with guns, but the Herreras fight back by hurling boulders down the hill at them and returning fire. Apate Dolos Hermes Momus. Then from her hair she tore out two with a doom-charged aim darted them. Runtime: min. Language: English. Seneca, Hercules Furens ff : "Fiery Erinys cracks her brandished scourge, and closer, closer yet, holds out before my face brands burnt on funeral pyres. Whom does Megaera seek with her deadly torch? Add the first question. Was this review helpful to you? Angelia Arke Hermes Iris. Aelian, H. She brought the blood of Gorgon Medousa Medusa , scraped off into a shell fresh when she was newly slain, and smeared the tree with the crimson Libyan drops. Back to School Picks. Latin Spelling Alecto Megaera Tisiphone. Company Credits. Furies, the Writer Release date. A complete bibliography of the translations quoted on this page. January 3, Nominated for 1 Oscar. User Ratings. Great westerns. As he walks down the street arm-in-arm with Vance and Rip, he is shot to death by Juan's bereaved mother. Maddie Danielle Horvat Statius, Thebaid 2. Sheena Ebony Vagulans Imagine Michael Mayers, Jason and Leatherface playing a girl's hunting game.