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Latin Curse Texts: Mediterranean Tradition and Local Diversity
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository of the Academy's Library Acta Ant. Hung. 57, 2017, 57–82 DOI: 10.1556/068.2017.57.1.5 DANIELA URBANOVÁ LATIN CURSE TEXTS: MEDITERRANEAN TRADITION AND LOCAL DIVERSITY Summary: There are altogether about six hundred Latin curse texts, most of which are inscribed on lead tablets. The extant Latin defixiones are attested from the 2nd cent. BCE to the end of the 4th and begin- ning of the 5th century. However, the number of extant tablets is certainly not final, which is clear from the new findings in Mainz recently published by Blänsdorf (2012, 34 tablets),1 the evidence found in the fountain dedicated to Anna Perenna in Rome 2012, (26 tablets and other inscribed magical items),2 or the new findings in Pannonia (Barta 2009).3 The curse tablets were addressed exclusively to the supernatural powers, so their authors usually hid them very well to be banished from the eyes of mortals; not to speak of the randomness of the archaeological findings. Thus, it can be assumed that the preserved defixiones are only a fragment of the overall ancient production. Remarkable diversities in cursing practice can be found when comparing the preserved defixiones from particular provinces of the Roman Empire and their specific features, as this contribution wants to show. Key words: Curses with their language, formulas, and content representing a particular Mediterranean tradi- tion documented in Greek, Latin, Egyptian Coptic, as well as Oscan curse tablets, Latin curse tablets, curse tax- onomy, specific features of curse tablets from Italy, Africa, Britannia, northern provinces of the Roman Empire There are about 1600 defixiones known today from the entire ancient world dated from the 5th century BCE up to the 5th century CE, which makes a whole millennium. -
An Ancient Cave Sanctuary Underneath the Theatre of Miletus
https://publications.dainst.org iDAI.publications ELEKTRONISCHE PUBLIKATIONEN DES DEUTSCHEN ARCHÄOLOGISCHEN INSTITUTS Dies ist ein digitaler Sonderdruck des Beitrags / This is a digital offprint of the article Philipp Niewöhner An Ancient Cave Sanctuary underneath the Theatre of Miletus, Beauty, Mutilation, and Burial of Ancient Sculpture in Late Antiquity, and the History of the Seaward Defences aus / from Archäologischer Anzeiger Ausgabe / Issue 1 • 2016 Seite / Page 67–156 https://publications.dainst.org/journals/aa/1931/5962 • urn:nbn:de:0048-journals.aa-2016-1-p67-156-v5962.3 Verantwortliche Redaktion / Publishing editor Redaktion der Zentrale | Deutsches Archäologisches Institut Weitere Informationen unter / For further information see https://publications.dainst.org/journals/aa ISSN der Online-Ausgabe / ISSN of the online edition 2510-4713 Verlag / Publisher Ernst Wasmuth Verlag GmbH & Co. Tübingen ©2017 Deutsches Archäologisches Institut Deutsches Archäologisches Institut, Zentrale, Podbielskiallee 69–71, 14195 Berlin, Tel: +49 30 187711-0 Email: [email protected] / Web: dainst.org Nutzungsbedingungen: Mit dem Herunterladen erkennen Sie die Nutzungsbedingungen (https://publications.dainst.org/terms-of-use) von iDAI.publications an. Die Nutzung der Inhalte ist ausschließlich privaten Nutzerinnen / Nutzern für den eigenen wissenschaftlichen und sonstigen privaten Gebrauch gestattet. Sämtliche Texte, Bilder und sonstige Inhalte in diesem Dokument unterliegen dem Schutz des Urheberrechts gemäß dem Urheberrechtsgesetz der Bundesrepublik Deutschland. Die Inhalte können von Ihnen nur dann genutzt und vervielfältigt werden, wenn Ihnen dies im Einzelfall durch den Rechteinhaber oder die Schrankenregelungen des Urheberrechts gestattet ist. Jede Art der Nutzung zu gewerblichen Zwecken ist untersagt. Zu den Möglichkeiten einer Lizensierung von Nutzungsrechten wenden Sie sich bitte direkt an die verantwortlichen Herausgeberinnen/Herausgeber der entsprechenden Publikationsorgane oder an die Online-Redaktion des Deutschen Archäologischen Instituts ([email protected]). -
Dr. Emmanuel Ramírez Nieves
Universidad de Puerto Rico Recinto de Río Piedras Departamento de Literatura Comparada Literatura Clásica Latina, LITE 3052. Segundo semestre, año académico 2018-2019. Profesor: Dr. Emmanuel Ramírez Nieves Oficina: Janer 129 Horas de oficina: lunes 2:30-3:30 p.m., jueves 2:30-3:50 p.m., o por acuerdo e-mail: [email protected] Salón: LPM 122 3 créditos, 3 horas Sitio web del curso: https://sites.google.com/s/1fS2hDv2GpvcfzZMmonitG4zlNk8eDWl1/p/1p_hGp5 0pCqmNd6Wl6d8u6pifZmL3awmR/edit Descripción general del curso: En esta parte del curso de dos semestres, estudiaremos la literatura clásica romana (desde el siglo III a. C. hasta los siglos IV y V d. C.) en sus contextos culturales e históricos. Leeremos ejemplos de varios géneros literarios clásicos: dramas de Séneca (tragedia) y Plauto (comedia), poemas de la lírica clásica latina de Catulo y Horacio, ensayos filosóficos de Cicerón, la épica La Eneida de Virgilio y las Metamorfosis de Ovidio, entre otros. Consideraremos éstos en relación con los textos filosóficos, cosmogónicos, científicos e históricos de la cultura clásica romana. Preguntaremos ¿qué significaba la literatura en la época clásica y cómo interpretan otros tiempos posteriores esta literatura? ¿Cuál era su importancia en la legitimación y formación de la cultura occidental durante los siglos? ¿Qué significa la literatura clásica dentro de los estudios de la literatura comparada en la UPR? Además de los estilos y el contenido de la literatura consideraremos también asuntos teóricos de género, la sex ualidad, el placer, las emociones, la formación de comunidades y la ética. Objetivos: Al finalizar el curso el y la estudiante: 1. -
Caecilia, Calpurnia, and Their Dreams of Political Importance. Patterns of Constructing Gender Relations and Female Scope for Action in Ancient Roman Sources
Athens Journal of History - Volume 4, Issue 2 – Pages 93-116 Caecilia, Calpurnia, and Their Dreams of Political Importance. Patterns of Constructing Gender Relations and Female Scope for Action in Ancient Roman Sources By Anna Katharina Romund During the crisis of the Roman Republic, ancient sources mention a number of political interventions by women. The paper at hand seeks to investigate two of these occurences in which dreams motivated women to play an active role in political affairs. Cicero and Julius Obsequens report the dream of Caecilia Metella that instigated the repair of the temple of Juno Sospita in 90 BC. Nicolaus of Damascus, Velleius Paterculus, Valerius Maximus, Plutarch, Suetonius, Appian, Cassius Dio, and, again, Obsequens cover the dream of Caesar's wife Calpurnia in their works. According to them, the dream drove her to save Caesar from the imminent assassination in 44 BC. If we aim for a better understanding of the growing female scope for action, we will need to systematically analyse ancient authors’ personal conceptions of gender relations in a comparative way. Therefore, my paper examines the reports on Caecilia and Calpurnia in order to find recurring patterns that reflect the writers’ ideas of gender relations and gender hierarchies. A three-step analysis scheme will be created. 1) The model regards family roles as an indicator of the gender relationship discussed by the author. 2) The verbal or non-verbal mode of the woman’s intervention, whether of strong or weak intensity, mirrors the options of female action depending on that specific relationship. Furthermore, this relationship is defined by means of the depicted reaction attributed to the addressee. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Lateinische Synonyme Und Etymologieen
Über dieses Buch Dies ist ein digitales Exemplar eines Buches, das seit Generationen in den Regalen der Bibliotheken aufbewahrt wurde, bevor es von Google im Rahmen eines Projekts, mit dem die Bücher dieser Welt online verfügbar gemacht werden sollen, sorgfältig gescannt wurde. Das Buch hat das Urheberrecht überdauert und kann nun öffentlich zugänglich gemacht werden. Ein öffentlich zugängliches Buch ist ein Buch, das niemals Urheberrechten unterlag oder bei dem die Schutzfrist des Urheberrechts abgelaufen ist. Ob ein Buch öffentlich zugänglich ist, kann von Land zu Land unterschiedlich sein. Öffentlich zugängliche Bücher sind unser Tor zur Vergangenheit und stellen ein geschichtliches, kulturelles und wissenschaftliches Vermögen dar, das häufig nur schwierig zu entdecken ist. Gebrauchsspuren, Anmerkungen und andere Randbemerkungen, die im Originalband enthalten sind, finden sich auch in dieser Datei – eine Erin- nerung an die lange Reise, die das Buch vom Verleger zu einer Bibliothek und weiter zu Ihnen hinter sich gebracht hat. Nutzungsrichtlinien Google ist stolz, mit Bibliotheken in partnerschaftlicher Zusammenarbeit öffentlich zugängliches Material zu digitalisieren und einer breiten Masse zugänglich zu machen. Öffentlich zugängliche Bücher gehören der Öffentlichkeit, und wir sind nur ihre Hüter. Nichtsdestotrotz ist diese Arbeit kostspielig. Um diese Ressource weiterhin zur Verfügung stellen zu können, haben wir Schritte unternommen, um den Missbrauch durch kommerzielle Parteien zu verhindern. Dazu gehören technische Einschränkungen für automatisierte Abfragen. Wir bitten Sie um Einhaltung folgender Richtlinien: + Nutzung der Dateien zu nichtkommerziellen Zwecken Wir haben Google Buchsuche für Endanwender konzipiert und möchten, dass Sie diese Dateien nur für persönliche, nichtkommerzielle Zwecke verwenden. + Keine automatisierten Abfragen Senden Sie keine automatisierten Abfragen irgendwelcher Art an das Google-System. -
“How Strangely Chang'd”: the Re-Creation of Ovid by African
“How Strangely Chang’d”: The Re-creation of Ovid by African American Women Poets By Rachel C. Morrison Submitted to the graduate degree program in Classics and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ______________________________________ Chair: Emma Scioli ______________________________________ Pam Gordon ______________________________________ Tara Welch Date Approved: 10 May 2018 The thesis committee for Rachel C. Morrison certifies that this is the approved version of the following thesis: “How Strangely Chang’d”: The Re-creation of Ovid by African American Women Poets ______________________________________ Chair: Emma Scioli ______________________________________ Pam Gordon ______________________________________ Tara Welch Date Approved: 10 May 2018 ii Abstract This project examines the re-creation of Ovid by African American women poets. Phillis Wheatley, an enslaved Black woman writing in colonial America, engages with Ovid’s account of Niobe in her epyllion “Niobe in Distress.” Henrietta Cordelia Ray, who was active in the late nineteenth and early twentieth centuries, picks up where Wheatley left off in a sonnet called “Niobe.” Elsewhere, in “Echo’s Complaint,” Ray also imagines what Echo might say to Narcissus if she had full control over her words—an imaginative exercise that has resonances with Ovid’s Heroides. Finally, in her 1995 book Mother Love, the contemporary poet Rita Dove re-examines the tale of Demeter and Persephone from a number of different angles. In reworking the Metamorphoses, all three poets paint vivid images of vulnerable girls and bereft mothers. Moreover, Wheatley, Ray, and Dove play with Ovidian elements to explore themes of repetition, voice, motherhood, and power dynamics. -
The Argei: Sex, War, and Crucifixion in Rome
THE ARGEI: SEX, WAR, AND CRUCIFIXION IN ROME AND THE ANCIENT NEAR EAST Kristan Foust Ewin, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Christopher J. Fuhrmann, Major Professor Ken Johnson, Committee Member Walt Roberts, Committee Member Richard B. McCaslin, Chair of the Department of History James D. Meernik, Acting Dean of the Toulouse Graduate School Ewin, Kristan Foust. The Argei: Sex, War, and Crucifixion in Rome and the Ancient Near East. Master of Arts (History), May 2012, 119 pp., 2 tables, 18 illustrations, bibliography, 150 titles. The purpose of the Roman Argei ceremony, during which the Vestal Virgins harvested made and paraded rush puppets only to throw them into the Tiber, is widely debated. Modern historians supply three main reasons for the purpose of the Argei: an agrarian act, a scapegoat, and finally as an offering averting deceased spirits or Lares. I suggest that the ceremony also related to war and the spectacle of displaying war casualties. I compare the ancient Near East and Rome and connect the element of war and husbandry and claim that the Argei paralleled the sacred marriage. In addition to an agricultural and purification rite, these rituals may have served as sympathetic magic for pre- and inter-war periods. As of yet, no author has proposed the Argei as a ceremony related to war. By looking at the Argei holistically I open the door for a new direction of inquiry on the Argei ceremony, fertility cults in the Near East and in Rome, and on the execution of war criminals. -
The Classical Mythology of Milton's English Poems
YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor VIII THE CLASSICAL MYTHOLOGY OF Milton's English poems CHARLES GROSVENOR OSGOOD, Ph.D. NEW YORK HENRY HOLT AND COMPANY igoo Ss9a Copyright, igoo, BY CHARLES GROSVENOR OSGOOD, Ph.D. J^ 7/SS TO PROFESSQR ALBERT S. COOK AND PROFESSOR THOMAS D. SEYMOUR — PREFACE The student who diligently peruses the lines of a great poem may go far toward a realization of its char- acter. He may appreciate, in a degree, its loveliness, strength, and direct hold upon the catholic truth of life. But he will be more sensitive to these appeals, and receive gifts that are richer and less perishable, accord- ing as he comprehends the forces by whose interaction the poem was produced. These are of two kinds the innate forces of the poet's character, and certain more external forces, such as, in the case of Milton, are represented by Hellenism and Hebraism. Their activ- ity is greatest where they meet and touch, and at this point their nature and measure are most easily dis- cerned. From a contemplation of the poem in its gene- sis one returns to a deeper understanding and enjoyment of it as a completed whole. The present study, though it deals with but one of the important cultural influ- ences affecting Milton, and with it but in part, endeav- ors by this method to deepen and clarify the apprecia- tion of his art and teaching. My interest in the present work has found support and encouragement in the opinions of Mr. Churton Collins, as expressed in his valuable book. -
Ovid's Fasti Panel Description
Panel: Ovid’s Fasti Panel Description: The five papers in this panel explore themes of censorship, discourse and exile in Ovid’s Fasti. Paper 1, “Interpreting Romulus and Remus in Ovid’s Fasti,” examines the contradictory themes of fratricide and imperial praise in order to evaluate the role that encomium of Augustus and the imperial family serves within Ovid’s poetry. Paper 2, “Exile Stories in Ovid’s Fasti,” looks at the ways in which Ovid links the mental and emotional experience of exile in the stories of Evander and Carmentis, Ariadne, and Anna Perenna to themes of censorship and discourse in Ovid. Paper 3, “The Decline of Free Speech in Augustan Rome in the Context of the Parentalia,” considers the role of the Parentalia in the works of Cicero, Vergil and Ovid and examines what the changing attitudes towards the festival can tell us about cultural resistance and free speech in the early Empire. Paper 4, “The De-eroticization of Creation in Fasti 4,” argues that Ovid de- eroticizes Venus and restores her role as a generative goddess in order to demonstrate that the poet is in creative control of his work. Paper 5, “The Lemuria of Ovid’s Fasti: What the Not-So-Silent Dead Have to Say,” provides a close reading of the scenes featuring the Lemuria in order to illuminate Ovid’s political subtext within the poem and highlight the poet’s objections to the loss of free speech during the Augustan Age. Interpreting Romulus and Remus in Ovid’s Fasti Recent scholarship in Ovidian literature has often focused on the politics of the Fasti, and how unanswered questions and contradictions presented by Ovid may lead to an essentially oppositional interpretation. -
In Imperial Rome
Becoming a ‘Diva’ in Imperial Rome OVID AND THE PROBLEM OF THE ‘FIRST LADY’ » CAROLE E. NEWLANDS In episode seven of I Claudius, the celebrated BBC drama on imperial Rome, the empress Livia, widow of Rome’s first emperor Augustus, Iconfesses to her grandson Claudius a long- cherished wish: ‘I want to become a goddess’. This essay explores the background to Livia’s desire to become a diva, the Latin term for a mortal woman who was deified. In particular, it examines the crisis in female representation occasioned by the novel emergence of women of power and influence, particularly Livia, in Roman public life during the age of Augustus (31 BC–AD 14) and that of her son, the emperor Tiberius (AD 14–AD 37). Fresh terminology attempted to convey positive images of elite women’s newly important roles in public life; at the same time, however, this terminology reflected persistent tensions in Rome’s patriarchal society between two conflicting paradigms of Roman womanhood: the retiring, traditional matron and the active, prominent spouse. The ultimate honour was deification, one of the most distinctive and controversial features of Roman religion in the early empire. Deification of prominent Roman leaders has been treated in scholarship as largely a masculine phenomenon, but it was an important female phenomenon too. Livia’s path to becoming a diva was a contested one. CREATING NEW MODES OF FEMININE During her lifetime she wielded a wide range REPRESENTATION of traditionally masculine powers throughout the empire; however, in her deified image she In 56 BC, during the latter years of the Roman appeared as wife and mother. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield.