2010 IJCL Certamen ADVANCED Round 1
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Trapani Eryx Segesta
AENEAS TODAY Aeneas’ Journey in Contemporary Literature www.aeneasroute.org Aeneas’ Journey in Contemporary Literature AENEAS’ JOURNEY IN CONTEMPORARY LITERATURE TRAPANI ERIX SEGESTA By Filomena Giannotti University of Siena Department of Philology and Critcism in Ancient and Modern Literatures Translated from Italian by Gavin Williams March 2021 Associazione Rotta di Enea Via San Francesco di Sales n.90, 00165 Roma Tel/Fax +39 06 6876608 +39 06 6876634 [email protected] www.aeneasroute.org Aeneas’ Journey in Contemporary Literature Index 1 Vincenzo Consolo, Sicily on Foot (1991) 2 Umberto Saba, Entellus (1946) Associazione Rotta di Enea Via San Francesco di Sales n.90, 00165 Roma Tel/Fax +39 06 6876608 +39 06 6876634 [email protected] www.aeneasroute.org Aeneas’ Journey in Contemporary Literature 1 VINCENZO CONSOLO, SICILY ON FOOT (1991) We stated, in reference to the origin of Segesta, the journey by the pious Aeneas to the banks of the Tiber. If, then, we were to go aboard a ship in the Trojan fleet, we could now get to know, place by place, just as Virgil names them, this western part of Sicily. Getting to see Trapani and the nearby woods, consecrated to Anchises, the beach where the sacrifices were made, and the games held in honour of the old king who had died, Lilybaeum with the cave of the Sibyl… And going up to the upper city of the Elymians and of the Trojans, to the temple of the goddess on the highest point … Poi vicino alle stelle, in vetta all’Érice, fondano un tempio a Venere Idalia … […] Virgil, making poetry out of the myth, tells us that the city [Egesta or Segesta] was founded by Aeneas, who left a number of companions here, under Aceste or Segeste, until fate, or the divine mission, led him to Lazio. -
Valerius Maximus on Vice: a Commentary of Facta Et Dicta
Valerius Maximus on Vice: A Commentary on Facta et Dicta Memorabilia 9.1-11 Jeffrey Murray University of Cape Town Thesis Presented for the Degree of Doctor of Philosophy (Classical Studies) in the School of Languages and Literatures University of Cape Town June 2016 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Abstract The Facta et Dicta Memorabilia of Valerius Maximus, written during the formative stages of the Roman imperial system, survives as a near unique instance of an entire work composed in the genre of Latin exemplary literature. By providing the first detailed historical and historiographical commentary on Book 9 of this prose text – a section of the work dealing principally with vice and immorality – this thesis examines how an author employs material predominantly from the earlier, Republican, period in order to validate the value system which the Romans believed was the basis of their world domination and to justify the reign of the Julio-Claudian family. By detailed analysis of the sources of Valerius’ material, of the way he transforms it within his chosen genre, and of how he frames his exempla, this thesis illuminates the contribution of an often overlooked author to the historiography of the Roman Empire. -
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. -
THE OLYMPIAN GODS Student Worksheets
CLIL COURSE MATERIALS CLASSICAL MYTHOLOGY: THE OLYMPIAN GODS Student worksheets Pilar Torres Carmona December 2008 CLASSICAL MYTHOLOGY: THE OLYMPIAN GODS STUDENT WORKDHEETS UNIT 1. MYTH AND MYTHOLOGY What is a myth? A myth is a story about gods and other supernatural beings and how they made or shaped the world and humanity. The events told in these stories happened in a very remote past. Myths are a part of religion, and they give an explanation of the world from a moral point of view; there is an ideology under every myth. Myths are also metaphorical; they do not try to explain the world in a logical or scientific way, but through imagination. However, we can still use myths to understand and explore culture: its viewpoints, activities and beliefs. Who made up Myths are very old stories. They are so old, that we do not know who myths? made them up: they are anonymous. People told these stories over the years and this is why we have many versions of them. Sometimes these stories –or parts of them—were written down and now we can enjoy them. Where does the The word ‗myth’ comes from the ancient Greek word μῦθος ―mythos‖. It word ‗myth‘ means ―word, story‖ and it reveals the oral origin of these stories. come from? ‗Mythology’, from the Greek words μῦθος ―mythos‖ story and λόγος What is ―logos‖ collection or study means both collection of stories/myths and study mythology? of the myths. Why classical Every civilization has its myths. We call classical mythology the body of mythology? myths of ancient Greece and Rome. -
THE ARGONAUTIKA He'd Gone on His Vain Quest with Peirithoos: That Couple Would Have Made Their Task's Fulfillment Far Easier for Them All
Book I Starting from you, Phoibos, the deeds ofthose old-time mortals I shall relute, who by way ofthe Black Sea's mouth and through the cobalt-dark rocks, at King Pelias 's commandment, in search of the Golden Fleece drove tight-thwarted Argo. For Pelias heard it voiced that in time thereafter a grim fate would await him, death at the prompting of the man he saw come, one-sandaled, from folk in the country: and not much later-in accordance with your word-Jason, fording on foot the Anauros's wintry waters, saved from the mud one sandal, but left the other stuck fast in the flooded estuary, pressed straight on to have his share in the sacred feast that Pelias was preparing for Poseidon his father, and the rest of the gods, though paying no heed to Pelasgian Hera. The moment Pelias saw him, he knew, and devised him a trial of most perilous seamanship, that in deep waters or away among foreign folk he might lose his homecoming. ,\row singers before 7ny time have recounted how the vessel was fashioned 4 Argos with the guidance of Athena. IW~cctIplan to do now is tell the name and farnib of each hero, describe their long voyage, all they accomplished in their wanderings: may the Muses inspire mnj sinpng! First in our record be Orpheus, whom famous Kalliope, after bedding Thracian Oikgros, bore, they tell us, 44 THE XRGONAUTIKA hard by Pimpleia's high rocky lookout: Orpheus, who's said to have charmed unshiftable upland boulders and the flow of rivers with the sound of his music. -
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. -
Katai:Keyai:Eii
CHAPTER FOUR KATAI:KEYAI:EII: I Though he could have moved directly from Catalogue and Ap pendix to narration of the first stages of the Argo's voyage, Apollo nius devotes almost three hundred verses (I 234-518) to what trans pired between the coming together of the Argonauts and their actual departure aboard ship. The sequence may be thus sub divided: [1] Laying in of supplies and procession from Iolcus to the harbor at Pagasae (234ff.) [2] Grief of Aeson and Alcimede; Jason's response (246ff.) [3] Progress of Jason to Pagasae and arrival of Acastus and Argus I (306ff.) [4] Assembly to choose a leader (327ff.) [5] Launching of the Argo and assignment of rowing positions by lot (363ff.) [6] Sacrificial rites, Jason's appeal to Apollo, Idmon's prophecies, post-sacrificial feast (402ff.) [7] Controversy involving Jason, Idas, Idmon (46off.) [8] Orpheus' first song; reaction of the Argonauts (494ff. )1 In devising this table I have oversimplified somewhat and have deliberately withheld acknowledgment of transitional passages interposed between larger divisions. Another observer, moreover, might have understood the organization of this part of the poem somewhat differently. All that occurs at Iolcus and at Pagasae could conceivably be considered a single episode. Yet my concern in as suming an octopartite structure was to emphasize what a diversity of incident Apollonius chose to put before his readers. 1 A second song is presented by Orpheus after the Argo has already set sail (569-579). Concerning both see below, Appendix A. KATA~KEYA~EI~ For purposes of discussion, however, I shall find it convenient to give individual attention to some segments ( # # 4; 6; 7), while bringing others together ( # #1-3) on account of some feature which they have in common.1 II That kinship might exist between the narrative of the Argonautic procession to Pagasae and that of Jason's movement toward the same destination ought to be obvious enough. -
1996 Njcl Certamen Round A1 (Revised)
1996 NJCL CERTAMEN ROUND A1 (REVISED) 1. Who immortalized the wife of Quintus Caecilius Metellus as Lesbia in his poetry? (GAIUS VALERIUS) CATULLUS What was probably the real name of Lesbia? CLODIA What orator fiercely attacked Clodia in his Pro Caelio? (MARCUS TULLIUS) CICERO 2. According to Hesiod, who was the first born of Cronus and Rhea? HESTIA Who was the second born? DEMETER Who was the fifth born? POSEIDON 3. Name the twin brothers who fought in their mother's womb. PROETUS & ACRISIUS Whom did Proetus marry? ANTIA (ANTEIA) (STHENEBOEA) With what hero did Antia fall in love? BELLEROPHON 4. Give the comparative and superlative forms of mult§ PLâRS, PLâRIM¦ ...of prÇ. PRIOR, PR¦MUS ...of hebes. HEBETIOR, HEBETISSIMUS 5. LegÇ means “I collect.” What does lectitÇ mean? (I) COLLECT OFTEN, EAGERLY Sitis means “thirst.” What does the verb sitiÇ mean? (I) AM THIRSTY / THIRST CantÇ means “I sing.” What does cantillÇ mean? (I) CHIRP, WARBLE, HUM, SING LOW 6. Differentiate in meaning between p~vÇ and paveÇ. P}VÆ -- PEACOCK PAVEÆ -- (I) FEAR, TREMBLE Differentiate in meaning between cavÇ and caveÇ. CAVÆ -- I HOLLOW OUT CAVEÆ -- I TAKE HEED, BEWARE Differentiate in meaning between modo (must pronounce with short “o”) and madeÇ. MODO -- ONLY, MERELY, BUT, JUST, IMMEDIATELY, PROVIDED THAT MADEÆ -- I AM WET, DRUNK Page 1 -- A1 7. What two words combine to form the Latin verb malÇ? MAGIS & VOLÆ What does malÇ mean? PREFER M~la is a contracted form of maxilla. What is a m~la? CHEEK, JAW 8. Which of the emperors of AD 193 executed the assassins of Commodus? DIDIUS JULIANUS How had Julianus gained imperial power? BOUGHT THE THRONE AT AN AUCTION (HELD BY THE PRAETORIANS) Whom had the Praetorians murdered after his reign of 87 days? PERTINAX 9. -
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. -
Pause in Homeric Prosody
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/140838 Please be advised that this information was generated on 2021-09-26 and may be subject to change. AUDIBLE PUNCTUATION Performative Pause in Homeric Prosody Audible Punctuation: Performative Pause in Homeric Prosody Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 21 mei 2015 om 14.30 uur precies door Ronald Blankenborg geboren op 23 maart 1971 te Eibergen Promotoren: Prof. dr. A.P.M.H. Lardinois Prof. dr. J.B. Lidov (City University New York, Verenigde Staten) Manuscriptcommissie: Prof. dr. M.G.M. van der Poel Prof. dr. E.J. Bakker (Yale University, Verenigde Staten) Prof. dr. M. Janse (Universiteit Gent, België) Copyright©Ronald Blankenborg 2015 ISBN 978-90-823119-1-4 [email protected] [email protected] All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Printed by Maarse Printing Cover by Gijs de Reus Audible Punctuation: Performative Pause in Homeric Prosody Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof. -
The Tragedy of Julius Caesar
THE TR AGEDY OF JULIUS CAESAR Transition 49–27 BC Coriolanus Caesar assassinated Roman Kingdom 494 BC Shakespeare’s play 44 BC 753–509 BC Roman Republic Roman Empire 509–49 BC 27 BC – 293 AD Roman Epochs 700 BC 600 BC 500 BC 400 BC 300 BC 200 BC 100 BC 1 AD 100 AD 200 AD The enforced vestal virgin, Rhea Silvia, has The Monarchy is overthrown and replaced The Republic grows corrupt, A second triumvirate is formed of Octavius Caesar twins fathered by the god Mars. The stolen by a Republic, a government by the people, begins to flounder and decay. (Julius Caesar’s great-nephew), Marcus Lepidus, and and abandoned twins, Romulus and Remus, headed by two consuls elected annually by the A triumvirate is formed of Mark Antony. In 27 BC, Mark Antony loses the Battle are fed by a woodpecker and nursed by a citizens and advised by a senate. A constitution Pompey the Great, Marcus of Actium and kills himself, Lepidus is exiled, and the she-wolf in a cave, the Lupercal. They grow gradually develops, centered on the principles of Crassus, and Julius Caesar. young Caesar becomes Augustus Caesar, Exalted One. up, found a city, argue, then Romulus kills a separation of powers and checks and balances. Remus and names the city Rome. OR it was All public offices are limited to one year. In 49 BC, Caesar crosses the Rubicon and is founded by Aeneas about this time. It is appointed temporary dictator three times; on ruled by kings for almost 250 years.