AS Temples and Structures Life of a Roman Slave the Man Behind The
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A Stylish 2Nd Floor Two/Three Bedroom Apartment
A stylish 2nd floor two/three bedroom apartment 36E The Broad Walk, Imperial Square, Cheltenham, Gloucestershire, GL50 1QG Leasehold with a 999 year lease from 1 January 1996 Communal entrance • entrance hall • kitchen • sitting/ dining room • dining room/occasional bedroom • main bedroom with en suite bathroom • second bedroom • bathroom • secure underground parking space Situation life, there are Michelin starred 36E The Broadwalk is situated restaurants, numerous bars, within walking distance of stylish shops and salons Montpellier, an area of aplenty. For art a nd history Cheltenham with a lovers there is The Wilson, cosmopolitan lifestyle having Cheltenham’s newly cafes with wonderful on street refurbished museum and art terraces and wine bars, close to gallery, whilst Cheltenham also the town centre. Cheltenham has a thriving cultural scene became a spa town in 1716, that includes two concert halls although its popularity and three theatres. There are flourished after King George III the numerous festivals such as visited in 1788. Its heyday as a The Wychwood Festival, the spa town was to last from festivals of literature, science, about 1790 to 1840 and it was food and drink and, perhaps during these years that many of the pinnacle for some, the jazz the town’s fine Regency festival, which has historically terraces, crescents and villas attracted such known were built. performers as Van Morrison, Cheltenham is famed as one Jamie Cullum and Jools of the most complete Regency Holland. Undoubtedly for many towns in England and more, the highlight of the year historically the original and is the annual racing festival most fashionable spa. -
Vergil's Nisus and the Language of Self-Sacrifice In
Vergil’s Nisus and the Language of Self-Sacrifice in Paradise Lost LEAH WHITTINGTON Princeton University When the Son of God offers to die for mankind in book 3 of Paradise Lost (1667), readers who have been tempted to join the devil’s party for the first two books of the poem confront an unsettling dramatic scene: the assembly in heaven is staged as a mirror image of the demonic council at Pandemonium. The listening host suddenly grows quiet, and a solitary hero figure emerges out of the silence to take on the burden of raising the collective fortune. Placed beside the Son’s promise to atone for man’s sin with his death, Satan’s exploratory mission to earth comes into focus as a fallen reflection of self-sacrifice, a self-aggrandiz- ing perversion of the poem’s heroic ideal now articulated in the Son. This moment of internal self-reference has often been identified as part of Milton’s didactic strategy to confront the reader with proof of his own fallenness,1 but it is less often recognized that the Son’s speech to the angelic host makes use of an allusion that gives it a central place in the story of Milton’s engagement with classical epic.2 When the Son 1. See Stanley Fish, Surprised by Sin (Berkeley: University of California Press, 1971). Fish famously argues that the heroic portrayal of Satan is part of a larger narrative strategy by which Milton provokes the reader ‘‘with evidence of his corruption’’ and forces him ‘‘to refine his perceptions so that his understanding will be once more proportionable to truth’’ (xiii). -
Folktalk Issue 58
Issue 58 FOLKtalk Autumn 2018 Friends of Leckhampton Hill & Charlton Kings Common Conserving and improving the Hill for you Inside this issue: FOLK AGM 2 The Word from Wayne 13 Walter Ballinger: Stalwart and soldier 3 Who painted the trig point? 16 Cheltenham remembers 4 Aerial photos 17 The flora and fauna on the Hill 5 Smoke Signals 17 Work party report 10 STALWARTS REMEMBERED AT THE WHEATSHEAF On Sunday September 30th, in bright sunshine with a hint of an autumn breeze, a plaque to commemorate the so called Leckhampton Stalwarts was unveiled by Neela Mann at The Wheatsheaf in Old Bath Road. A gathering of more than 50 people heard Neela, a local history expert and a FOLK member, pay tribute to Walter Ballinger and the other Stalwarts, who were imprisoned in 1906 as a result of their action to secure public access to the Hill. The Wheatsheaf was the headquarters for the Stalwarts and so it is fitting that the new plaque will be a permanent reminder of the sacrifice they made so that future generations could continue to enjoy the Hill. The Leckhampton Local History Society organised the event with their members being half of the gathering. FOLK was well represented. Martin Horwood, Leckhampton ward Borough Councillor and a supporter of FOLK was present. The current owner of the Dale Forty Piano company, Colin Crawford attended the unveiling. Colin is not related to Henry Dale, who bought the site in 1894 and was a protagonist in the drama, but he has an interest in the history. Walkers along the Cotswold Way from Hartley Lane will be able to see another plaque dedicated to a Stalwart and more information on the battle for access is available on the FOLK website www.leckhamptonhill.org.uk/site- description/history. -
The Medici Aphrodite Angel D
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 A Hellenistic masterpiece: the Medici Aphrodite Angel D. Arvello Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Arvello, Angel D., "A Hellenistic masterpiece: the Medici Aphrodite" (2005). LSU Master's Theses. 2015. https://digitalcommons.lsu.edu/gradschool_theses/2015 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A HELLENISTIC MASTERPIECE: THE MEDICI APRHODITE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Angel D. Arvello B. A., Southeastern Louisiana University, 1996 May 2005 In Memory of Marcel “Butch” Romagosa, Jr. (10 December 1948 - 31 August 1998) ii ACKNOWLEDGMENTS I wish to acknowledge the support of my parents, Paul and Daisy Arvello, the love and support of my husband, Kevin Hunter, and the guidance and inspiration of Professor Patricia Lawrence in addition to access to numerous photographs of hers and her coin collection. I would also like to thank Doug Smith both for his extensive website which was invaluable in writing chapter four and for his permission to reproduce the coin in his private collection. -
Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact). -
Invention of Hysteria : Charcot and the Photographic Iconography of the Salpêtrière / Georges Didi-Huberman ; Translated by Alisa Hartz
Invention of Hysteria This page intentionally left blank Invention of Hysteria Charcot and the Photographic Iconography of the Salpêtrière Georges Didi-Huberman Translated by Alisa Hartz The MIT Press Cambridge, Massachusetts London, England Originally published in 1982 by Éditions Macula, Paris. ©1982 Éditions Macula, Paris. This translation ©2003 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or infor- mation storage and retrieval) without permission in writing from the publisher. This book was set in Bembo by Graphic Composition, Inc. Printed and bound in the United States of America. Cet ouvrage, publié dans le cadre d’un programme d’aide à la publication, béné- ficie du soutien du Ministère des Affaires étrangères et du Service Culturel de l’Ambassade de France aux Etats-Unis. This work, published as part of a program of aid for publication, received sup- port from the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the United States. Library of Congress Cataloging-in-Publication Data Didi-Huberman, Georges. [Invention de l’hysterie, English] Invention of hysteria : Charcot and the photographic iconography of the Salpêtrière / Georges Didi-Huberman ; translated by Alisa Hartz. p. cm. Includes bibliographical references and index. ISBN 0-262-04215-0 (hc. : alk. paper) 1. Salpêtrière (Hospital). 2. Hysteria—History. 3. Mental illness—Pictorial works. 4. Facial expression—History. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All Female Youth Sculptures Were Called Kore
Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All female youth sculptures were called Kore. • Made of marble • Would have been painted with bright colors and decorated. • Archaic smile-corners of her mouth slightly lifted. • Hair is carved down the back showing Egyptian influence. • Would have been found in and around temples holding an offering in her outstretched hand. • The Kore were always clothed. • Not meant to house the soul or KA at death but may have been used as graver markers. • Represented the ideal female youth. • Flesh would have been painted lighter than the male kouros. Kouros 660 BC to 590 BC • 1st appearance coincides with trade with Egypt. • Usually a votive statue (representing a hero or athlete) or a grave marker. • Represented the god Apollo. • All male statues were called kouros and were nude. • Represented the ideal male youth. • Flesh would have been painted brown or red. classical The Discus Thrower by Myron • 480-440 BC • Roman copy of a Greek sculpture. • Shows an athlete in motion performing the Olympic event discus throwing. • Athletes performed nude • Romans copied all the Greek sculptures. Venus de Milo 150 BC • Classical Period • Sculpted by Alexandros of Antioch • Statue of Aphrodite (Venus) • Located at the Louvre museum in Paris • Found on the island of Milos in 1820 • Milos means “apple” in Greek • Would have been painted and adorned with jewelry • Made of marble • 6’8 feet tall • The arms were lost in transport. • Her face is neutral and drapery is realistic • Known for perfect graceful proportions Doryphorus (the spear bearer) 450 BC-415 BC • Polykleitos of Argos • Bronze • Known for his sculptures of young athletes • Known only through Roman copies • Perfect proportions • Idealized • Classical period • Contrapposto stance Hellenistic The Seated Boxer 225 BC • Votive statue- commemorated a known boxer. -
Autumn 2016 Issue 14
AUTUMN 2016 ISSUE 14 FROM THE EDITOR CONTENTS MESSAGE FROM THE CHAIRMANHAIRMAN Message from the Chairman 3 I have just spent a wonderful day in College with two Looking at the array of articles that we have this visitors from one of our sister schools – Diocesan Autumn, I am struck by the range of experience Message from the President 4 School for Girls in Auckland, New Zealand. The of Guild members. There are contributions from a Joan Sadler, Principal 1979–1987 6 school was founded in 1904 and the first headmistress World War II radio operator, a pilot, a volunteer in was a teacher from CLC called Miss Mary Pulling. In Sudan and numerous artists, to name but a few. talking to the current head on her visit, we imagined When I look at the subjects and activities which how significant travelling to the other side of the College girls are now offered, I see greater world would have been over a century ago in order to undertake such a role. As you will see in this edition opportunities than ever before and though of The Slab we have many pioneers in the art world there was naturally less choice in College during among our members, and I am grateful to them all for wartime, it remained an impressive school. It sharing their experiences with us. makes me realise how very fortunate we all are and We had another successful reunion in May when how proud Dorothea Beale would be. are making use of this facility; do let me know if there over 300 Guild and Honorary members of all ages are changes that you would like to see. -
Further Commentary Notes
Virgil Aeneid X Further Commentary Notes Servius, the author of a fourth-century CE commentary on Virgil is mentioned several times. Servius based his notes extensively on the lost commentary composed earlier in the century by Aelius Donatus. A version of Servius, amplified by material apparently taken straight from Donatus, was compiled later, probably in the seventh or eighth century. It was published in 1600 by Pierre Daniel and is variously referred to as Servius Auctus, Servius Danielis, or DServius. Cross-reference may be made to language notes – these are in the printed book. An asterisk against a word means that it is a term explained in ‘Introduction, Style’ in the printed book. A tilde means that the term is explained in ‘Introduction, Metre’ in the printed book. 215 – 6 In epic, descriptions of the time of day, particularly dawn, call forth sometimes surprising poetic flights. In Homer these are recycled as formulae; not so in Virgil (for the most part), although here he is adapting a passage from an earlier first- century epic poet Egnatius, from whose depiction of dawn seems to come the phrase curru noctivago (cited in Macrobius, Sat. 6.5.12). This is the middle of the night following Aeneas’s trip to Caere. The chronology of Books VIII – X is as follows: TWO DAYS AGO Aeneas sails up the Tiber to Evander (VIII). NIGHT BEFORE Aeneas with Evander. Venus and Vulcan (VIII). Nisus and Euryalus (IX). DAY BEFORE Evander sends Aeneas on to Caere; Aneneas receives his armour (VIII). Turnus attacks the Trojan camp (IX, X). -
David Hadbawnik Blackbox Manifold 24.Pdf
Aeneid from Book 9 Translation by David Hadbawnik; images by Omar Al-Nakib [With Aeneas away solidifying allies, the Trojans are hunkered down refusing to leave camp as Turnus and his army threaten. In frustration Turnus attempts to burn the Trojan fleet, only to see it miraculously saved and the ships turned into sea nymphs by Jupiter.] II. ‘Sed periise semel satis est.’ Awe grips the Rutulian minds. Messapus is spooked, also his horses, at the noise of gurgling water. But TURNUS doesn’t flinch. He alone raises their spirits and settles them with his words. “Sure these are bad signs … for the Trojans. Jupiter himself snatches away any expectation of help— and we didn’t have to fight or burn anything. They’ve got nowhere to run. Italy’s up in arms. The Fates? They don’t frighten me. Whatever the Phyrgian oracles twist, Venus is paid in full, because they’ve touched down here. I’ve got my own destiny. And a sharp sword to cut down a crime-ridden race that stole my bride. It’s not just the sons of Atreus that sorrow touches. Myceneans aren’t the only ones allowed to bear arms. But to die once is enough. To sin once is enough, or it would’ve been, if from here on out they hate women (you’d think they would after what happened with Helen), 1 these bastards for whom faith in crappy walls and makeshift fortifications – a slight pause before death – gives courage. Didn’t they just watch Troy’s walls made by Neptune engulfed in flames? But you chosen lot, who’ll come with me to chop down ramparts and invade that quivering camp? There’s no Vulcan-forged arms for me. -
Manning, Roger B. "Notes." War and Peace in the Western Political Imagination: from Classical Antiquity to the Age of Reason
Manning, Roger B. "Notes." War and Peace in the Western Political Imagination: From Classical Antiquity to the Age of Reason. London: Bloomsbury Academic, 2016. 293–346. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781474258739.0009>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 09:37 UTC. Copyright © Roger B. Manning 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. N o t e s Introduction 1 M i c h a e l H o w a r d , Th e Causes of War and Other Essays (Cambridge, MA : Harvard University Press, 1983), 11–12; Azar Gat, War in Human Civilization (Oxford: Oxford University Press, 2006), 663. 2 H o w a r d , Causes of Wars , 1 3 ; I a n C l a r k , Waging War: A Philosophical Introduction ( Oxford : Clarendon Press , 1988 ), 4–5 , 12 . 3 R i c h a r d A . G a b r i e l , Th e Culture of War: Invention and Early Development ( New York : Greenwood Press , 1990 ), 128 . 4 S e e , f o r e x a m p l e , M e l v i n S m a l l a n d J . D a v i d S i n g e r , Resort to Arms: International and Civil Confl icts, 1816–1980 ( Beverley Hills , Calif. : Sage , 1982 ) . 5 Richardson also included a seventh category—domestic homicides—which I have omitted.