1996 Njcl Certamen Round A1 (Revised)
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Augustus Go to and Log in Using Your School’S Log in Details
Timelines – Augustus Go to www.worldbookonline.com and log in using your school’s log in details: Log-in ID: Password: Click on Advanced Type in Augustus in Search box Click the article titled Augustus Read the article and answer the questions below. 1. What date was Octavian (Augustus) born? ___________________________________________________________________________ 2. In which year did Octavian take the name Gaius Julius Caesar Octavianus? ___________________________________________________________________________ 3. Octavian defeated Mark Antony, who had taken control of Rome following Caesar’s death, in which year? ___________________________________________________________________________ 4. Octavian and Mark Antony formed a political alliance, known as the Second Triumvirate, with Markus Aemilius Lepidus (chief priest of Rome). In which year were Marcus Junius Brutus and Gaius Cassius Longinus, Caesar’s chief assassins, defeated at Philippi in Macedonia? ___________________________________________________________________________ 5. What year was another threat, Sextus Pompey (son of Pompey the Great), defeated by Antony and Octavian? ___________________________________________________________________________ 6. In what year did the Triumvirate disintegrate? ___________________________________________________________________________ 7. In what year did Mark Antony and Cleopatra (Queen of Egypt) become lovers? ___________________________________________________________________________ 8. In what year did Octavian go to war against -
Naming the Extrasolar Planets
Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named. -
Judges in the Classroom the Republic of Rome V. Marcus Brutus
Judges In The Classroom The Republic of Rome v. Marcus Brutus Mock Trial Source: Written by Margaret Fisher. Staff at the Washington State Administrative Office of the Courts (AOC) edited the lesson. For more information, contact AOC Court Services, 1206 Quince Street SE, PO Box 41170, Olympia, WA 98504-1170. For an electronic copy of this lesson, or to view other lesson plans, visit Educational Resources on the Washington Courts Web site at: www.courts.wa.gov/education/. Objectives: 1. Students will conduct a mock trial, follow the sequence of steps in a trial, and employ good techniques for each role. 2. Students will make complex, prepared oral presentations as attorneys and witnesses. 3. Students will demonstrate skills in listening, rapid critical analysis, and extemporaneous speech. 4. Students will gain an understanding of the rules of evidence and procedure. 5. Students will demonstrate knowledge of the law applicable to the case. Grade Level: Grades 6-8 Time: One class period (approximately 50 minutes) Materials: Mock trial packet for the judge (mock trial agenda, stipulated facts, sworn statements, and evidentiary information as included in this lesson). The teacher will prepare all other materials for students ahead of the trial date. Note: This lesson assumes the class completed a multi-disciplinary unit on mock trial preparation. They studied legal concepts and procedures, analyzed the trial process, reviewed historical issues, and prepared for this specific case. Now, the parties are ready to proceed to trial, with you as the judge. Judges in the Classroom Brutus Mock Trial Mock Trial Agenda Procedures: 1. Begin the class by introducing yourself and setting the students at ease. -
The Assassination of Julius Caesar 44 BC
Realizado por Elena Martín Gordón (IES Doñana, ALMONTE) The Assassination of Julius Caesar 44 B.C. Julius Caesar was a great general and an important leader in ancient Rome. His conquest of Gaul extended the Roman world to the North Sea, and he also conducted the first Roman invasion of Britain. Caesar began a civil war in 49 BC, and after that he became the master of the Roman world. He was proclaimed "dictator for life”, and he had the absolute power over the empire. After assuming control of the government, he began important reforms of Roman society and government. The Romans even named a month after him, the month of July for Julius Caesar. Most people liked Julius Caesar because he told To solve : the people that he could solve Rome's problems. Certainly, the resolver Republic had problems: crime was everywhere, taxes were very Taxes: high, and the people were hungry. impuestos Why did Julius Caesar have enemies among the rich and powerful? Among : entre As Julius Caesar became more powerful, and more popular with the people, To worry : leaders in the Senate began to worry . They were afraid that Julius Caesar preocuparse wanted to govern Rome as a king. The Roman senators did not want to return to To be afraid : the time of kings. They were afraid to lose their power. tener miedo, temer Julius Caesar had many enemies in Rome. Because of Julius Caesar's military victories, he was very popular with the Romans. His soldiers were very loyal to Loyal : leal, fiel their leader. -
Furthest Voices in Virgil's Dido I
FURTHEST VOICES IN VIRGIL’S DIDO I ‘We have to stop somewhere, but we also have to face the fact that any par- ticular stopping-place is therefore our choice, and carries with it ideological implications.’ Don Fowler 1 ‘Magnus est Maro’. I. L. La Cerda 2 Part one Reading Dido – in the Aeneid and beyond – has always been an intensely charged literary and political game. A sensitive, loving woman, Dido offers Aeneas a real alternative to the complex business of setting Rome in motion, and her death shows the enormous price there is to pay in terms of human fulfilment and happiness for the sake of empire building. How more or less sympathetic and straightforward she is seen to be is of course crucial to our perception of Aeneas as epic hero, and to the meaning of the Aeneid as a whole. It is only natural that throughout the 20th century, and into the 21st, critics have over- whelmingly packaged this fascinating character as the archetypical ‘other voice’ to the poem’s teleological (not to say ‘Augustan’) plot. 1 D. P. FOWLER 1997: 25 = 2000: 127-128. 2 LA CERDA: vol. 1, p. 441. Furthest Voices in Virgil’s Dido 61 This comfortable opposition rests to a significant extent on a one- sided reading of Dido’s emotional intricacies. Already ancient poets and readers, from Ovid to the Christians, vigorously edited Virgil’s Dido to produce their own challenge to his epic. Building upon Heinze’s influ- ential treatment, modern critics have favoured a comparable approach: current readings emphasize the image of a loving and forlorn heroine whose short outbursts of rage and fury are evanescent – and justified. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
Statius; with an English Translation by J.H. Mozley
THE LOEB CLASSICAL LIBRARY EDITED BY T. E. PAGE, LiTT.D. E. CAPPS, PH.D., LL.D. W. H. D. ROUSE, litt.d. STATIUS II ^cfi STATIUS f WITH AN ENGLISH TRANSLATION BY J. H. MOZLEY, M.A. SOMETIME SCHOLAR OF KING S COLLEGE, CAMBRIDGE USCTDEER IN CLASSICS AT EAST LONDON COLLEGE, UNIVERSITY OF LONDON IN TWO VOLUMES J.^ II THEBAID V-XII • ACHILLEID LONDON : WILLIAM HEINEMANN LTD NEW YORK: G. P. PUTNAM'S SONS MCMXXVIII ; Printed in Great Britain CONTENTS OF VOLUME II THEBAID BOOKS V-XII VOL. 11 THEBAIDOS LIBER V Pulsa sitis fluvio, populataque gurgitis altum^ agmina linquebant ripas amnemque minorem ; acrior et campum sonipes rapit et pedes arva implet ovans, rediere viris animique minaeque votaque, sanguineis mixtum ceu fontibus ignem 5 hausissent belli magnasque in proelia mentes. dispositi in turmas rursus legemque severi ordinis, ut cuique ante locus ductorque, monentur instaurare vias. tellus iam pulvere primo crescit, et armorum transmittunt fulgura silvae. 10 qualia trans pontum Phariis depvensa serenis rauca Paraetonio deeedunt agmina Nilo, quo^ fera cogit hiemps : illae clangore fugaei, umbra fretis arvisque, volant, sonat avius aether, iam Borean imbresque pati, iam nare solutis 15 amnibus et nudo iuvat aestivare sub Haemo. Hie rursus simili procerum vallante corona dux Talaionides, antiqua ut forte sub orno ^ altum P : alvum w (Z) mith alveum written over). ^ quo Vollmer : cum Pa,-. " i.e., cranes, cf. Virg. Aen. x. 264.. * The epithet is taken from a town named Paraetonium, on the Libyan coast west of the Delta. 2 THEBAID BOOK V Their thirst was quenched by the river, and the army haWng ravaged the water's depths was lea\"ing the banks and the diminished stream ; more briskly now the galloping steed scours the plain, and the infantrj' swarm exultant over the fields, inspired once more by courage and hope and warlike temper, as though from the blood-stained springs they had drunk the fire of battle and high resolution for the fray. -
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. -
Chiasmus in Ancient Greek and Latin Literatures
Chiasmus in Ancient Greek and Latin Literatures John W. Welch Notwithstanding the fact that most recent scholarly attention has dealt with the occurrence of chiasmus in ancient Near Eastern languages and literatures, a signicant amount of chiasmus is to be found in ancient Greek and Latin literatures as well. Indeed, the word ,,chiasmus” itself stems from the Greek word chiazein, meaning to mark with or in the shape of a cross, and chiasmus has been earnestly studied in Greek and Latin syntax and style far more extensively and many years longer than is has even been acknowledged in the context of Semitic and other ancient writings. That chiasmus has received more attention in the Classical setting than in other ancient literatures is at the same time both ironic and yet completely understandable. The irony lies in the fact that more scholarly acceptance and utilization of chiasmus is found in connection with the appreciation of Western literary traditions than in the study of other ancient literatures, whereas chiasmus is relatively simple and certainly less informative in respect to the Greek and Latin authors than it is in regard to many of the writers from other arenas of the ancient world. One would expect the greater efforts to be made where the rewards promise to be the more attractive. Yet this situation is also easily explained. For one thing, numerous Western scholars have exhaustively studied secular Greek literary texts since the thirteenth century, and Latin, since it was spoken in Rome. The use of literary devices in Hebrew literature, on the other hand, has only been given relatively sparse scholarly treatment in the West for something over two hundred years, and the study of gures of speech in most other ancient languages, dialects and literatures can still be said to be somewhat in a state of infancy. -
Oratio Recta and Oratio Obliqua in Caesar's De Bello
VOICES OF THE ENEMY: ORATIO RECTA AND ORATIO OBLIQUA IN CAESAR’S DE BELLO GALLICO by RANDY FIELDS (Under the Direction of James C. Anderson, jr.) ABSTRACT According to his contemporaries and critics, Julius Caesar was an eminent orator. Despite the lack of any extant orations written by Caesar, however, one may gain insight into Caesar’s rhetorical ability in his highly literary commentaries, especially the De Bello Gallico. Throughout this work, Caesar employs oratio obliqua (and less frequently oratio recta) to animate his characters and give them “voices.” Moreover, the individuals to whom he most frequently assigns such vivid speeches are his opponents. By endowing his adversaries in his Commentarii with the power of speech (with exquisite rhetorical form, no less), Caesar develops consistent characterizations throughout the work. Consequently, the portrait of self-assured, unification-minded Gauls emerges. Serving as foils to Caesar’s own character, these Gauls sharpen the contrast between themselves and Caesar and therefore serve to elevate Caesar’s status in the minds of his reader. INDEX WORDS: Caesar, rhetoric, oratory, De Bello Gallico, historiography, propaganda, opponent, oratio obliqua, oratio recta VOICES OF THE ENEMY: ORATIO RECTA AND ORATIO OBLIQUA IN CAESAR’S DE BELLO GALLICO by RANDY FIELDS B.S., Vanderbilt University, 1992 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Randy Fields All Rights Reserved VOICES OF THE ENEMY: ORATIO RECTA AND ORATIO OBLIQUA IN CAESAR’S DE BELLO GALLICO by RANDY FIELDS Major Professor: James C. -
The World's Measure: Caesar's Geographies of Gallia and Britannia in Their Contexts and As Evidence of His World Map
The World's Measure: Caesar's Geographies of Gallia and Britannia in their Contexts and as Evidence of his World Map Christopher B. Krebs American Journal of Philology, Volume 139, Number 1 (Whole Number 553), Spring 2018, pp. 93-122 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/ajp.2018.0003 For additional information about this article https://muse.jhu.edu/article/687618 Access provided at 25 Oct 2019 22:25 GMT from Stanford Libraries THE WORLD’S MEASURE: CAESAR’S GEOGRAPHIES OF GALLIA AND BRITANNIA IN THEIR CONTEXTS AND AS EVIDENCE OF HIS WORLD MAP CHRISTOPHER B. KREBS u Abstract: Caesar’s geographies of Gallia and Britannia as set out in the Bellum Gallicum differ in kind, the former being “descriptive” and much indebted to the techniques of Roman land surveying, the latter being “scientific” and informed by the methods of Greek geographers. This difference results from their different contexts: here imperialist, there “cartographic.” The geography of Britannia is ultimately part of Caesar’s (only passingly and late) attested great cartographic endeavor to measure “the world,” the beginning of which coincided with his second British expedition. To Tony Woodman, on the occasion of his retirement as Basil L. Gildersleeve Professor of Classics at the University of Virginia, in gratitude. IN ALEXANDRIA AT DINNER with Cleopatra, Caesar felt the sting of curiosity. He inquired of “the linen-wearing Acoreus” (linigerum . Acorea, Luc. 10.175), a learned priest of Isis, whether he would illuminate him on the lands and peoples, gods and customs of Egypt. Surely, Lucan has him add, there had never been “a visitor more capable of the world” than he (mundique capacior hospes, 10.183). -
Lunar References in Virgil's Aeneid
Graeco-Latina Brunensia 24 / 2019 / 1 https://doi.org/10.5817/GLB2019-1-5 Alma Phoebe: Lunar References in Virgil’s Aeneid Lee M. Fratantuono (Ohio Wesleyan University, Delaware) Abstract The moon and lunar phenomena are frequently referenced in Virgil’s Aeneid. Close study of these allusions reveals that the poet employs lunar imagery as a key element in his depiction of the characters of both the Carthaginian Dido and the Volscian Camilla, in particular the de- ČLÁNKY / ARTICLES liberately crafted juxtaposition between the two women. Keywords Virgil; Moon; Luna; Dido; Camilla 61 Lee M. Fratantuono Alma Phoebe: Lunar References in Virgil’s Aeneid The moon serves as astronomical witness to a number of key events in Virgil’s Aeneid.1 The present study will seek to explicate the various references to the moon in the text of the epic (including mentions of the goddess Luna or Phoebe), with a view to illustrating how Virgil employs lunar imagery to significant effect in his poem, in particular in delin- eating the contrast between the opposing pairs Venus/Dido and Diana/Camilla, and as part of his pervasive concern with identifying the relationship between Troy and Rome.2 Near the close of the first book of the epic, the “wandering moon” is cited as the first of the subjects of the song of Dido’s bard Iopas (A. I, 742 hic canit errantem lunam solisque labores).3 The passage echoes similar languages in the song of Silenus from the sixth eclogue (E. VI, 64 tum canit, errantem Permessi ad flumina Gallum),4 where one of the Muses and the divine shepherd Linus rise to give honor to the poet Gallus as he wanders by the Permessus.