DOCSLIB.ORG

Time and History in Virgil's Aeneid by Rajesh Paul Mittal a Dissertation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Time and History in Virgil's Aeneid by Rajesh Paul Mittal a Dissertation Time and History in Virgil’s Aeneid by Rajesh Paul Mittal A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in The University of Michigan 2011 Doctoral Committee: Professor David S. Potter, Chair Professor Victor Caston Professor Bruce W. Frier Assistant Professor Mira Seo To Jeb αὐτὰρ ὁ νόσφιν ἰδὼν ἀπομόρξατο δάκρυ ii Acknowledgments Producing this dissertation has been one of the most rewarding experiences of my life, and so it gives me tremendous pleasure to thank all of the people who contributed to its realization. First and foremost, thanks go to the members of my doctoral committee: David Potter, Victor Caston, Bruce Frier, and Mira Seo. I feel privileged to have had Professor Potter as my chair. In addition to being one of the finest Roman historians of his generation, he is a truly warm and understanding man, and I called upon that understanding at several points during this process. Professor Seo was truly a godsend, especially with regard to the literary aspects of my thesis. I am forever in her debt for the valuable contributions that she made on extremely short notice. Professor Caston was equally generous, and it pleases me to no end that a philosopher of his caliber has found nothing objectionable in my discussions of Plato, Stoicism, and Pythagoreanism. Finally, I must thank Professor Frier, not just for his work on my committee, but for all that he has meant to me in my time at the University of Michigan. Reading Livy with him for a prelim in 2007 will always be one of the fondest memories from my time in graduate school, in part because of Livy (whom I think we both properly appreciate), but even more so because Professor Frier is a true intellectual and marvelous person. I would also like to thank all of the professors that I have been lucky enough to work with during my time at Michigan. Joseph Reed was initially the co-chair of my iii committee, and I would be remiss if I did not acknowledge my debt to him. Indeed, this project began with his encouragement, and I hope that the end result still bears witness to that fact. I was lucky enough to know and study with Benjamin Fortson, who shares with me two passions: historical linguistics and the piano. While I never did get to hear him play, if he is half the pianist that he is linguist, he may have a second career awaiting him. I also thank Benjamin Acosta-Hughes, unquestionably one of the kindest and most generous people I have ever met. If I were to recount all that he has done for me, this section would run to many pages in length. All I shall say here is that I must someday take him to dinner at Le Train Bleu. Finally, my heartfelt gratitude goes to Professor H.D. Cameron. Hyperbole is surely common in the acknowledgement sections of completed dissertations, but I do not exaggerate at all when I say that without Professor Cameron, none of this would have been possible. Since my first year of graduate school, he has taken me under his wing, and if I had done nothing besides teach Great Books for him, the last six years would have been well spent. He has been a teacher, a mentor, and a friend; with an astonishing insight into my psychology, he has at various times encouraged and compelled me, according to the demands of the moment; he is a scholar in the truest sense of the word, and it is reassuring to know that among people who spend their lives reading Homer and Plato, there are individuals like Professor Cameron who have learned what it means to truly be excellent. I also take this opportunity to acknowledge the memory of another friend and mentor, Traianos Gagos. Traianos was a true Greek, although (like me) more in the modern sense. Traianos, you will always be in my thoughts, especially when I enjoy iv grilled kasseri with many glasses of Cretan raki, serenaded by the dulcet tones of the Mediterranean. I was first inspired to pursue a degree in Classics by my undergraduate Greek and Latin professors at Marquette University, Stephen Beall and Patricia Marquardt. Both have influenced me tremendously. In particular, Patricia taught me to “follow my bliss,” and gave me one of the most precious gifts that anyone ever could: a love of Homer. No matter where I go, I shall always carry with me the copy of the Iliad that I received from her. Thanks to the generosity of many people, I have been lucky enough to spend the past year in Paris, unquestionably the most beautiful place in the world. For its endless inspiration and charm, the city itself deserves my thanks. But my experience would not have been half so pleasant had not my wonderful friend Jeanne-Marie Malauzat treated me like a son, and I thank her from the bottom of my heart. The kindness of Professor Jean Trinquier enabled me to do the majority of my research at the library of the École Normale Supérieure, and in addition to the vast collection there, I derived equal profit from my walks up to 45 Rue D’Ulm, on paths once tread by Aquinas and Abelard. Often I would go out of my way to visit the Vierge des Étudiants at Notre Dame, to whom I also offer thanks. During the past six years, I have made more friends than I could ever hope to adequately acknowledge in this space, so I mention only a few: Jason Parnell and Mike Sampson, who love football even more than I do; Alex Conison, who shares my appreciation for all the finer things in life; Davorka Radovcic, who is a ray of Dalmatian sunshine in the wretched Ann Arbor winter; and Alexander Angelov, a friend who passes v the “Lorenzo” test, and the only person with whom I could ever share a tiny apartment for three months. Then of course there are my dear, oldest friends, Keita Fukuyama, Russ Casper, and Stephen Wolfe, with whom I grew up, in so many ways. My deepest thanks go to my wonderful family, who have truly made me all that I am. This project would have been unthinkable without them. My brother Riki and sister Anne-Louise spent so much time proofreading my drafts. My aunt Dorothy has always been like a second mother to me, and I felt her prayers during my most trying moments. Whatever intellectual curiosity I have, I inherited from my grandmother, the other scholar in our family, who herself knows something about Virgil. And finally, I thank my wonderful father and incomparable mother, who have always loved and supported me, regardless of what I do. I hope that I have made them proud. Lastly, I thank Virgil himself (as well as Augustus, who kept the Aeneid from being destroyed after Virgil’s death), for showing me what it means to have a beautiful soul, and for having graced humanity with art that will never cease to be relevant to the vital questions of our existence. vi Table of Contents Dedication……………………………………………………………................................ii Acknowledgements……………………………………………………………................iii List of Abbreviations……………………………………………………………..............xi Chapter 1.Introduction……………………………………………………………...............1 I. Virgil and the Philosophy of History........................................................1 II. Methodology.........................................................................................12 III. Terminology.........................................................................................19 2. Auctoritas and the Forum of Augustus..............................................................24 I. Introduction............................................................................................24 II. The Forum of Augustus.........................................................................27 1. Basic Physical Layout................................................................28 2. Issues in Dating the Project........................................................32 3. Augustus and Ultio.....................................................................37 III. Agency and Auctoritas in the Augustan Program...............................39 1. The Memory of the Proscriptions..............................................41 2. Sextus and Gnaeus Pompey......................................................46 vii 3. Pietas, Virtus, and Clementia in the Forum of Augustus.........51 a. Pietas..............................................................................52 b. Virtus..............................................................................57 c. Clementia.......................................................................60 IV. Sulla, Pompey, and De-Politicized History........................................62 V. Conclusion............................................................................................69 3. History as Sacrifice............................................................................................72 I. Introduction...........................................................................................72 II. Sicily in the Aeneid...............................................................................76 1. Sextus Pompey..........................................................................76 2. The Palinurus Episode..............................................................86 3. Eryx............................................................................................94 III. History as Sacrifice............................................................................106 1. Intimations of Doom in Aeneid 5............................................106 2. Turnus.....................................................................................109
Load more

Recommended publications
  • OVID Metamorphoses
    Metamorphoses Ovid, Joseph D. Reed, Rolfe Humphries Published by Indiana University Press Ovid, et al. Metamorphoses: The New, Annotated Edition. Indiana University Press, 2018. Project MUSE. muse.jhu.edu/book/58757. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/58757 [ Access provided at 20 May 2021 05:17 GMT from University of Washington @ Seattle ] book FIve The Fighting of Perseus* So Perseus told his story, and the halls Buzzed loud, not with the cheery noise that rings From floor to rafter at a wedding-party. No; this meant trouble. It was like the riot When sudden squalls lash peaceful waves to surges. Phineus was the reckless one to start it, That warfare, brandishing his spear of ash With sharp bronze point. “Look at me! Here I am,” He cried, “Avenger of my stolen bride! No wings will save you from me, and no god Turned into lying gold.”* He poised the spear, As Cepheus shouted: “Are you crazy, brother? What are you doing? Is this our gratitude, This our repayment for a maiden saved? If truth is what you want, it was not Perseus Who took her from you, but the Nereids Whose power is terrible, it was hornèd Ammon, It was that horrible monster from the ocean Who had to feed on my own flesh and blood, And that was when you really lost her, brother; 107 lines 20–47 She would have died—can your heart be so cruel To wish it so, to heal its grief by causing Grief in my heart? It was not enough, I take it, For you to see her bound and never help her, Never so much as lift a little finger, And you her uncle and her promised husband! So now you grieve that someone else did save her, You covet his reward, a prize so precious, It seems, you could not force yourself to take it From the rocks where it was bound.
    [Show full text]
  • Seriously Playful: Philosophy in the Myths of Ovid's Metamorphoses
    Seriously Playful: Philosophy in the Myths of Ovid’s Metamorphoses Megan Beasley, B.A. (Hons) This thesis is presented for the degree of Doctor of Philosophy of Classics of The University of Western Australia School of Humanities Discipline of Classics and Ancient History 2012 1 2 For my parents 3 4 Abstract This thesis aims to lay to rest arguments about whether Ovid is or is not a philosophical poet in the Metamorphoses. It does so by differentiating between philosophical poets and poetic philosophers; the former write poetry freighted with philosophical discourse while the latter write philosophy in a poetic medium. Ovid, it is argued, should be categorised as a philosophical poet, who infuses philosophical ideas from various schools into the Metamorphoses, producing a poem that, all told, neither expounds nor attacks any given philosophical school, but rather uses philosophy to imbue its constituent myths with greater wit, poignancy and psychological realism. Myth and philosophy are interwoven so intricately that it is impossible to separate them without doing violence to Ovid’s poem. It is not argued here that the Metamorphoses is a fundamentally serious poem which is enhanced, or marred, by occasional playfulness. Nor is it argued that the poem is fundamentally playful with occasional moments of dignity and high seriousness. Rather, the approach taken here assumes that seriousness and playfulness are so closely connected in the Metamorphoses that they are in fact the same thing. Four major myths from the Metamorphoses are studied here, from structurally significant points in the poem. The “Cosmogony” and the “Speech of Pythagoras” at the beginning and end of the poem have long been recognised as drawing on philosophy, and discussion of these two myths forms the beginning and end of the thesis.
    [Show full text]
  • Queer Reproductions in Vergil's Georgics and Brian Britigan's Golden
    Vol. 1 No. 1 Summer|Été 2021 - 26 - Queer Reproductions in Vergil’s Georgics and Brian Britigan’s Golden Clara Bosak-Schroeder Introduction1 Minneapolis-based artist Brian Britigan has created an oeuvre of fantastic creatures, from the alien beauties of Miss Space Teen Supreme (2015) to lion griffins and skeletal mermaids in Celestial Spheres (2016). But perhaps none will excite scholars of the environmental humanities more than Golden [Fig. 1], one of six paintings for Beyond the Western Lands, a group show held in 2012 at Seattle’s SOIL Gallery.2 In Golden, an ox or cow looks in the direction of the viewer, though not into our eyes. Its body has been severed part-way through the torso and hangs suspended, we know not from where. Bees have colonized the body’s interior and swarm in both foreground and background, while honey drips from its nostrils. Inverted flowers adorn the forehead and a tag reading “46” under another number, “522,” is visible in the left ear. I first encountered this painting while doing a Google image search for “bugonia,” a Latin term meaning “ox- or cow-born” that refers to the spontaneous generation of bees from a dead bovine. The Google algorithm may have found this image through an interview Britigan gave on artsyo.com in 2013. The interview references bugonia and implies that Britigan himself mentioned it to the interviewers: [Britigan’s] impossible-to-miss painting Golden (see below) sparked a long conversation and subsequent post-show research about the origins of the myth that beehives can be spontaneously
    [Show full text]
  • Kretan Cult and Customs, Especially in the Classical and Hellenistic Periods: a Religious, Social, and Political Study
    i Kretan cult and customs, especially in the Classical and Hellenistic periods: a religious, social, and political study Thesis submitted for degree of MPhil Carolyn Schofield University College London ii Declaration I, Carolyn Schofield, 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 acknowledged in the thesis. iii Abstract Ancient Krete perceived itself, and was perceived from outside, as rather different from the rest of Greece, particularly with respect to religion, social structure, and laws. The purpose of the thesis is to explore the bases for these perceptions and their accuracy. Krete’s self-perception is examined in the light of the account of Diodoros Siculus (Book 5, 64-80, allegedly based on Kretan sources), backed up by inscriptions and archaeology, while outside perceptions are derived mainly from other literary sources, including, inter alia, Homer, Strabo, Plato and Aristotle, Herodotos and Polybios; in both cases making reference also to the fragments and testimonia of ancient historians of Krete. While the main cult-epithets of Zeus on Krete – Diktaios, associated with pre-Greek inhabitants of eastern Krete, Idatas, associated with Dorian settlers, and Kretagenes, the symbol of the Hellenistic koinon - are almost unique to the island, those of Apollo are not, but there is good reason to believe that both Delphinios and Pythios originated on Krete, and evidence too that the Eleusinian Mysteries and Orphic and Dionysiac rites had much in common with early Kretan practice. The early institutionalization of pederasty, and the abduction of boys described by Ephoros, are unique to Krete, but the latter is distinct from rites of initiation to manhood, which continued later on Krete than elsewhere, and were associated with different gods.
    [Show full text]
  • The Formulaic Dynamics of Character Behavior in Lucan Howard Chen
    Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Howard Chen All rights reserved ABSTRACT Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen This dissertation analyzes the three main protagonists of Lucan’s Bellum Civile through their attempts to utilize, resist, or match a pattern of action which I call the “formula.” Most evident in Caesar, the formula is a cycle of alternating states of energy that allows him to gain a decisive edge over his opponents by granting him the ability of perpetual regeneration. However, a similar dynamic is also found in rivers, which thus prove to be formidable adversaries of Caesar in their own right. Although neither Pompey nor Cato is able to draw on the Caesarian formula successfully, Lucan eventually associates them with the river-derived variant, thus granting them a measure of resistance (if only in the non-physical realm). By tracing the development of the formula throughout the epic, the dissertation provides a deeper understanding of the importance of natural forces in Lucan’s poem as well as the presence of an underlying drive that unites its fractured world. Table of Contents Acknowledgments ............................................................................................................ vi Introduction ......................................................................................................................
    [Show full text]
  • The Cambridge Companion to Greek Mythology (2007)
    P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr.
    [Show full text]
  • 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.
    [Show full text]
  • The Argonauts 1St Edition Ebook, Epub
    THE ARGONAUTS 1ST EDITION PDF, EPUB, EBOOK Maggie Nelson | 9781555973407 | | | | | The Argonauts 1st edition PDF Book Huffington Post Nelson's vibrant, probing and, most of all, outstanding book is also a philosophical look at motherhood, transitioning, partnership, parenting, and family-an examination of the restrictive way we've approached these terms in the past and the ongoing struggle to arrive at more inclusive and expansive definitions for them. Many years ago he had angered Hera by committing the despicable act of killing his stepmother Sidero at the goddess's altar and by prohibiting the people from worshipping the Goddess. But in "The Argonauts," the gifted critic and scholar breaks generic ground with her work of 'auto theory, ' which offers a glimpse into the writer's mind, body, and home. So much writing about motherhood makes the world seem smaller after the child arrives, more circumscribed, as if in tacit fealty to the larger cultural assumptions about moms and domesticity; Nelson's book does the opposite The New York Times Book Review Maggie Nelson is one of the most electrifying writers at work in America today, among the sharpest and most supple thinkers of her generation. Condition: Good - Very Good. Share This Book Share on Twitter. Los Angeles Times. This was the home of the Doliones and ruled over by King Cyzicus, a kind and noble man who greeted the Argonauts warmly. On the way home Suspecting her father would do something evil, Medea informed Jason and agreed to help him steal the Golden Fleece, only if he took her away with him.
    [Show full text]
  • Anthony Tropolle Life of Cicero
    ANTHONY TROPOLLE LIFE OF CICERO VOLUME I 2008 – All rights reserved Non commercial use permitted HE LIFE OF CICERO BY ANTHONY TROLLOPE _IN TWO VOLUMES_ VOL. I. CONTENTS OF VOLUME I. CHAPTER I. INTRODUCTION. CHAPTER II. HIS EDUCATION. CHAPTER III. THE CONDITION OF ROME. CHAPTER IV. HIS EARLY PLEADINGS.--SEXTUS ROSCIUS AMERINUS.--HIS INCOME. CHAPTER V. CICERO AS QUAESTOR. CHAPTER VI. VERSES. CHAPTER VII. CICERO AS AEDILE AND PRAETOR. CHAPTER VIII. CICERO AS CONSUL. CHAPTER IX. CATILINE. CHAPTER X. CICERO AFTER HIS CONSULSHIP. CHAPTER XI. THE TRIUMVIRATE. CHAPTER XII. HIS EXILE. * * * * * APPENDICES. APPENDIX A. APPENDIX B. APPENDIX C. APPENDIX D. APPENDIX E. THE LIFE OF CICERO. CHAPTER I. INTRODUCTION. I am conscious of a certain audacity in thus attempting to give a further life of Cicero which I feel I may probably fail in justifying by any new information; and on this account the enterprise, though it has been long considered, has been postponed, so that it may be left for those who come after me to burn or publish, as they may think proper; or, should it appear during my life, I may have become callous, through age, to criticism. The project of my work was anterior to the life by Mr. Forsyth, and was first suggested to me as I was reviewing the earlier volumes of Dean Merivale's History of the Romans under the Empire. In an article on the Dean's work, prepared for one of the magazines of the day, I inserted an apology for the character of Cicero, which was found to be too long as an episode, and was discarded by me, not without regret.
    [Show full text]
  • Bernard Coutaz Carlos Sandúa Las Músicas Del Agua La ONE Republicana Natalie Dessay Peter Donohoe Lado Ataneli Gaspard De La N
    REVISTA DE MÚSICA Año XXIII - Nº 228 - Marzo 2008 - 6,50 € DOSIER Las músicas del agua ENCUENTROS ROLA Bernard Coutaz ND Carlos Sandúa C O ACTUALIDAD R V E IL Natalie Dessay A L N A Peter Donohoe D ZÓN Lado Ataneli O EM REPORTAJE OCIONES La ONE republicana Año XXIII - Nº 228 Marzo 2008 REFERENCIAS Gaspard de la nuit de Ravel INTERIORPORTADA FILM:SCHERZO 22/2/08 18:37 Página 1 1-16 FILM:SCHERZO 22/2/08 17:36 Página 1 AÑO XXIII - Nº 228 - Marzo 2008 - 6,50 € 2 OPINIÓN DOSIER Las músicas del agua CON NOMBRE José Luis Carles PROPIO y Cristina Palmese 113 6 Natalie Dessay Rafael Banús Irusta ENCUENTROS 8 Peter Donohoe Bernard Coutaz Bruno Serrou Emili Blasco 126 10 Lado Ataneli Carlos Sandúa Pablo J. Vayón Barbara Röder 132 12 AGENDA REPORTAJE La Orquesta Nacional 18 ACTUALIDAD Republicana NACIONAL Enrique Lacomba y Gúzman Urrero Peña 136 46 ACTUALIDAD INTERNACIONAL EDUCACIÓN Pedro Sarmiento 140 60 ENTREVISTA JAZZ Rolando Villazón Pablo Sanz 142 Juan Antonio Llorente LIBROS 144 64 Discos del mes LA GUÍA 146 65 SCHERZO DISCOS CONTRAPUNTO Norman Lebrecht 152 Sumario Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Rafael Díaz Gómez, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Joaquín García, José Antonio García y García, Carmen Dolores García González, Juan García-Rico, José Guerrero Martín, Federico Hernández, Fernando Herrero, Bernd Hoppe, Paul Korenhof, Enrique Lacomba, Antonio Lasierra, Norman
    [Show full text]
  • The Architecture of Roman Temples
    P1: JzL 052181068XAgg.xml CB751B/Stamper 0 521 81068 X August 28, 2004 17:30 The Architecture of Roman Temples - The Republic to the Middle Empire John W. Stamper University of Notre Dame iii P1: JzL 052181068XAgg.xml CB751B/Stamper 0 521 81068 X August 28, 2004 17:30 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C John W. Stamper 2005 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2005 Printed in the United Kingdom at the University Press, Cambridge Typefaces Bembo 11/14 pt., Weiss, Trajan, and Janson System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Stamper, John W. The architecture of Roman temples : the republic to the middle empire / John W. Stamper. p. cm. Includes bibliographical references and index. isbn 0-521-81068-x 1. Temples, Roman – Italy – Rome. 2. Temple of Jupiter Capitolinus (Rome, Italy) 3. Architecture, Roman – Italy – Rome – Influence. 4. Rome (Italy)
    [Show full text]
  • Myth, the Marvelous, the Exotic, and the Hero in the Roman D'alexandre
    Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Paul Henri Rogers A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages (French) Chapel Hill 2008 Approved by: Dr. Edward D. Montgomery Dr. Frank A. Domínguez Dr. Edward D. Kennedy Dr. Hassan Melehy Dr. Monica P. Rector © 2008 Paul Henri Rogers ALL RIGHTS RESERVED ii Abstract Paul Henri Rogers Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Under the direction of Dr. Edward D. Montgomery In the Roman d’Alexandre , Alexandre de Paris generates new myth by depicting Alexander the Great as willfully seeking to inscribe himself and his deeds within the extant mythical tradition, and as deliberately rivaling the divine authority. The contemporary literary tradition based on Quintus Curtius’s Gesta Alexandri Magni of which Alexandre de Paris may have been aware eliminates many of the marvelous episodes of the king’s life but focuses instead on Alexander’s conquests and drive to compete with the gods’ accomplishments. The depiction of his premature death within this work and the Roman raises the question of whether or not an individual can actively seek deification. Heroic figures are at the origin of divinity and myth, and the Roman d’Alexandre portrays Alexander as an essentially very human character who is nevertheless dispossessed of the powerful attributes normally associated with heroic protagonists.
    [Show full text]