Returning to the Fire: a Universal Model of Career Development and Cyclical Weltanschauung
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“If Music Be the Food of Love, Play On
As Fate Would Have It Pat Sajak and Vanna White would have been quite at home in New Orleans in January 1828. It was announced back then in L’Abeille de Nouvelle-Orléans (New Orleans Bee) that “Malcolm’s Celebrated Wheel of Fortune” was to “be handsomely illuminated this and to-morrow evenings” on Chartres Street “in honour of the occasion”. The occasion was the “Grand Jackson Celebration” where prizes totaling $121,800 were to be awarded. The “Wheel of Fortune” was known as Rota Fortunae in medieval times, and it captured the concept of Fate’s capricious nature. Chaucer employed it in the “Monk’s Tale”, and Dante used it in the “Inferno”. Shakespeare had many references, including “silly Fortune’s wildly spinning wheel” in “Henry V”. And Hamlet had those “slings and arrows” with which to contend. Dame Fortune could indeed be “outrageous”. Rota Fortunae by the Coëtivy Master, 15th century In New Orleans her fickle wheel caused Ignatius Reilly’s “pyloric valve” to close up. John Kennedy Toole’s fictional protagonist sought comfort in “The Consolation of Philosophy” by Boethius, but found none. Boethius wrote, “Are you trying to stay the force of her turning wheel? Ah! Dull-witted mortal, if Fortune begins to stay still, she is no longer Fortune.” Ignatius Reilly found “Consolation” in the “Philosophy” of Boethius. And Boethius had this to say about Dame Fortune: “I know the manifold deceits of that monstrous lady, Fortune; in particular, her fawning friendship with those whom she intends to cheat, until the moment when she unexpectedly abandons them, and leaves them reeling in agony beyond endurance.” Ignatius jotted down his fateful misfortunes in his lined Big Chief tablet adorned with a most impressive figure in full headdress. -
Representations of the Ocean in Early Modern English Drama
Boston University OpenBU http://open.bu.edu Theses & Dissertations Boston University Theses & Dissertations 2020 Multitudinous seas: representations of the ocean in early modern English drama https://hdl.handle.net/2144/39858 Boston University BOSTON UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Dissertation MULTITUDINOUS SEAS: REPRESENTATIONS OF THE OCEAN IN EARLY MODERN ENGLISH DRAMA by JULIA PORTIA MIX BARRINGTON B.A., Barnard College, Columbia University, 2012 M.A., Boston University, 2013 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2020 © 2020 by Julia Portia Mix Barrington All rights reserved Approved by First Reader James R. Siemon, Ph.D. Professor of English Second Reader William C. Carroll, Ph.D. Professor of English Third Reader Laurence A. Breiner, Ph.D. Professor of English On land, the tuggings of the moons can somewhat safely be ignored by men, and left to the more pliant senses of women and seeds and an occasional warlock. But at sea even males are victims of the rise and fall, the twice-daily surge of the waters they float on, and willy-nilly the planetary rhythm stirs them and all the other voyagers. M.F.K. Fisher, The Gastronomical Me (New York: North Point Press, 1943), 40. iv ACKNOWLEDGEMENTS This project could not exist without the help and support of my graduate student colleagues in the Boston University Department of English, in particular the tireless guidance of Dr. Alex MacConochie and Dr. Emily Keck; the careful attention and feedback from Professors James Siemon and William Carroll, my primary and secondary readers; the inexhaustible encouragement of my partner, William Porter; and the generous financial support of the Alumnae Association of Barnard College, the Boston University Institute for the Study of Muslim Societies and Cultures, and the Shakespeare Association of America. -
Correlations Tennessee
Tennessee Correlations LEVELS 1 & 2 An Overview of Levels 1 & 2 of Our New 2-Year Latin Series Bolchazy-Carducci Publishers, Inc. THE IMPORTANCE OF POST-ANTIQUE LATIN How Should We Teach the Patrimony of Latin Literature? To say that Latin literature did not end with the Romans would be an understatement. In fact the Roman contribution to Latin, however fundamental, is a mere beginning. Th e amount of surviving Latin literature writt en in Europe since the collapse of the Western Roman Empire in the late fi fth century ce is almost inconceivably larger than the surviving corpus of literature left by the Romans themselves. Th is heritage of post-Roman Latin literature was anything but a sterile idiom reserved for a few reclusive monks. Th e very pulse of western European civilization, as it developed through the Middle Ages and the Renaissance, moved primarily to the rhythms of Latin prose and poetry. Th e language of Caesar and Cicero performed new functions and came to be used in ways unimagined by the ancient Romans. Latin became the vehicle for sciences as refi ned as ballistics and hydrodynamics. Latin exclusively provided the academic and philosophical vocabulary for the expression of Europe’s most sophisticated thoughts. Latin was the language in which fun- damental concepts, such as gravity and the heliocentric solar system, received their fi rst coher- ent expression. Latin, along with some revived terms from ancient Greek, supplied the language of botany and zoology. Latin was the international language of cartography, geography, history, and ethnography, the sciences through which the discoveries of Renaissance explorers gradually became part of the consciousness of European civilization. -
Enews Nostalgia Heading2
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard As Fate Would Have It Pat Sajak and Vanna White would have been quite at home in New Orleans in January, 1828. It was announced back then in L’Abeille de Nouvelle-Orléans (New Orleans Bee) that “Malcolm’s Celebrated Wheel of Fortune” was to “be handsomely illuminated this and to- morrow evenings” on Chartres Street “in honour of the occasion”. The occasion was the “Grand Jackson Celebration” where prizes totaling $121,800 were to be awarded. The “Wheel of Fortune” was known as Rota Fortunae in medieval times, and it captured the concept of Fate’s capricious nature. Chaucer employed it in the “Monk’s Tale”, and Dante used it in the “Inferno”. Shakespeare had many references, including “silly Fortune’s wildly spinning wheel” in “Henry V”. And Hamlet had those “slings and arrows” with which to contend. Dame Fortune could indeed be “outrageous”. In New Orleans her fickle wheel caused Ignatius Reilly’s “pyloric valve” to close up. John Kennedy Toole’s fictional protagonist sought comfort in “The Consolation of Philosophy” by Boethius, but found none. Boethius wrote, “Are you trying to stay the force of her turning wheel? Ah! Dull-witted mortal, if Fortune begins to stay still, she is no longer Fortune.” Ignatius jotted down his fateful misfortunes in his lined tablet adorned with a most impressive figure in full headdress. The first copyright for Big Chief went to the Western Tablet Company of Saint Joseph, Missouri, but today the tablets are no longer being produced. -
Music, Myth, and Metaphysics in Twelfth-Century Cosmology
Music, Myth, and Metaphysics: Harmony in Twelfth-Century Cosmology and Natural Philosophy by Andrew James Hicks A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Medieval Studies University of Toronto c Copyright by Andrew James Hicks (2012) ABSTRACT Music, Myth, and Metaphysics: Harmony in Twelfth-Century Cosmology and Natural Philosophy Andrew James Hicks Doctor of Philosophy, 2012 Centre for Medieval Studies University of Toronto This study engages a network of music, myth, and metaphysics within late-ancient and twelfth- century music theory and cosmology. It traces the development, expansion, and demise of a (natural-) philosophical harmonic speculation that stems largely from an a priori commitment to a harmonic cosmology with its deepest roots in Plato’s Timaeus. It argues that music theory not only allowed twelfth-century thinkers to conceptualize the fabric of the universe, but it also provided a hermeneu- tic tool for interpreting the ancient and late-ancient texts that offered detailed theories of the world’s construction. The twin goals of this study are thus philosophical and musicological: firstly and philosophically, to analyze and re-assert the importance of musical speculation in the writings of the self-styled physici, who probed the physical world and its metaphysical foundations during the ‘Twelfth-Century Renaissance’; secondly and musicologically, to document the sources and scope of this musical speculation and to situate it within the larger tradition of ‘speculative music theory.’ The first part of the thesis (chapters one and two) disentangles the knotty question of sources for and connections between the late-ancient texts (by Calcidius, Macrobius, and Boethius) that form the background of twelfth-century thought, and it sketches the proper domain of musical thought by tracing the expansion of music’s role in quadrivial and natural-philosophical contexts from late- ancient encyclopedism though various twelfth-century divisiones scientiae. -
"The Wheel Weaves As the Wheel Wills" Metaphors of Fate in Robert
Ghent University Faculty of Arts and Philosophy "The Wheel Weaves as the Wheel Wills" Metaphors of Fate in Robert Jordan's The Eye of the World Supervisor: Paper submitted in partial fulfilment Prof. Dr. Nadia Sels of the requirements for the degree of "Master in de Taal- en Letterkunde: Engels" by Lucas Rabaey May 2016 Acknowledgements First and foremost, I would like to thank my supervisor, Prof. Dr. Nadia Sels, for the help she has provided me with during the writing of this MA dissertation. I was not very sure of where this dissertation was going, but she helped me get on the right track and has always encouraged me in my writing. During the writing process of this dissertation, she has given me useful feedback on all of the pieces of writing I sent her, and she has provided several sources that were necessary for the successful completion of this dissertation. She was always ready to meet up and discuss my progress, and I am sure that without her help, this dissertation would not have become what it is now. I would also like to thank my family and friends for the support they have given me throughout the last couple of months. Special thanks go to my brother Ward, who was always eager to give me tips on how to write a dissertation and has often provided feedback on both content and form of this dissertation. He has also read my thesis and has pointed out several mistakes that I was able to fix before the deadline. Table of contents Introduction ............................................................................................................................... -
Reading Shakespeare's Tragedies Through Cognitive Theory
A BODY OF SUFFERING: READING SHAKESPEARE’S TRAGEDIES THROUGH COGNITIVE THEORY By NICHOLAS RYAN HELMS A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Nicholas Ryan Helms 2009 ALL RIGHTS RESERVED ABSTRACT In the following chapters I attempt to build and use a cognitive theory of tragedy. I base this theory upon the work of George Lakoff, Mark Johnson, and Mark Turner, whose studies of embodied metaphor and conceptual blending offer a new linguistic understanding of the way human beings think. When applied to tragedy, these cognitive theories enable a radical rethinking of the tragic hero, catharsis, and suffering itself. My thesis contains three major sections. In the first, I lay out the foundation of my theory, describing the basic processes of embodied metaphor and conceptual blending and linking these processes to theoretical accounts of paradigm shift and pattern, specifically those of Thomas Kuhn and Daniel Dennett. I then describe cognitive theory’s relationship to traditional tragic theorists, including Aristotle, Hegel, Nietzsche, and Terry Eagleton. Finally, I offer a cognitive reading of two plays: Romeo and Juliet and King Lear . Throughout, I hope to illustrate the links between thought, metaphor, and human action. Metaphors are not simply linguistic expressions: they are tools of the mind, and our use of those tools can bring great success or great tragedy. As such, tragedy is not merely an aesthetic genre. It is a cognitive event, a presentation of metaphor and of the consequences of metaphor. -
Carmina Burana
AUDIENCE GUIDE 2018 - 2019 | Our 59th Season | Issue 4 Issue | Our Season 59th 2019 | March 15 – March 31, 2019 Music by Carl Orff Reduced Orchestration by Wilhelm Killmayer Four of Milwaukee’s most dynamic Indeed, it is the moon which has inspired performing arts companies are joining Lisa Schlenker’s haunting scenic design forces to present Carl Orff’s explosive and serves as the production’s predomi- cantata, Carmina Burana. Skylight is elated nant visual metaphor. Illuminated by Jason to work with artists from Danceworks Fassl’s brilliant lighting, the moon serves as Performance Company, Milwaukee Opera a timeless reminder of Fate’s ever- Theatre and Chant Claire Chamber Choir changing whims. In contrast, Shima Orans’ to bring this magnificent work to life for the modern, urban costume design under- first time in our nearly 60-year history. scores the contemporary relevance of the cantata’s themes. Tying the visual and lin- Although Carmina is most often presented guistic elements together are a series of in the concert hall, Orff himself called it a projections which serve to augment and scenic cantata, consisting of “secular songs elucidate the action onstage. for singers and choruses to be sung with instruments and magical images.” Amid this evocative milieu, an intergenerational cast of 62 performers - It is in this spirit of interdisciplinary 17 Skylight artists, seven Danceworks collaboration that the creative team has dancers, four Chant Claire guest approached the production, conceptualiz- artists and 25 Chant Claire Chamber Choir ing the piece as “total theatre” in which members, will fill the Cabot stage. -
The Dynamics of the Medieval Manuscript
Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2017, V&R unipress GmbH, Göttingen ISBN Print: 9783847107545 – ISBN E-Lib: 9783737007542 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2017, V&R unipress GmbH, Göttingen ISBN Print: 9783847107545 – ISBN E-Lib: 9783737007542 Karen Pratt /Bart Besamusca /Matthias Meyer / Ad Putter (eds) The Dynamics of the Medieval Manuscript Text Collections from aEuropean Perspective Edited with the Assistance of Hannah Morcos With 22 figures V&Runipress Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2017, V&R unipress GmbH, Göttingen ISBN Print: 9783847107545 – ISBN E-Lib: 9783737007542 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available online: http://dnb.d-nb.de. ISBN 978-3-7370-0754-2 You can find alternative editions of this book and additional material on our website: www.v-r.de © 2017, V&R unipress GmbH, Robert-Bosch-Breite 6, 37079 Göttingen, Germany / www.v-r.de This publication is licensed under a Creative Commons Attribution-Non Commercial- No Derivatives 4.0 International license, at DOI 10.14220/9783737007542. For a copy of this license go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Any use in cases other than those permitted by this license requires the prior written permission from the publisher. Cover image: A hermit at work on a manuscript; Estoire del Saint Graal, France, c. 1315±1325, London, British Library, Royal MS 14 E III, fol. -
Commencement 2011
Nota Bene Vol. 16 No. 2 NEWS FROM THE HARVARD DEPARTMENT OF THE CLASSICS Commencement 2011 Notes from the Chair by John Duffy he end of another busy academic year finds the Department a little weather- beaten, but proud of its successes, and united in spirit to confront the staffing challenges that have piled up at an alarming rate in the last two years. As things stand,T we are in need of new faculty members in the areas of Latin, Greek, Ancient Philoso- phy, and Byzantine Greek will soon be added to the list. The summer is almost upon us and we are still waiting to hear from the administration about search authorizations for next year. Closing the gaps in the Department’s faculty roster will be the major focus of our ef- forts for the foreseeable future. On the positive side we can rejoice that Paul Kosmin will begin his professional career with us in the Fall, as Assistant Professor of Greek History. Brad Inwood (U. of Toronto) ushered in the Spring with a lively and excellent set of four Jackson Lectures on the topic of “Ethics after Aristotle.” It is anticipated that these will be published as a book, in the near future, by Harvard University Press. The Class of 2011, numbering a robust seventeen students, happily includes the first three graduates of the recently installed concentration track in Classical Civilizations. It was also a record- breaking year for senior theses, with thirteen submitted. One of them, by Raquel Begleiter, was deservedly awarded a Hoopes prize, though the tally should have been higher, as there were three other outstanding nominees from the Department. -
The Fair Reward Problem: the Illusion of Success and How to Solve It
The fair reward problem: the illusion of success and how to solve it Didier Sornette, Spencer Wheatley and Peter Cauwels ETH Zurich Abstract: Humanity has been fascinated by the pursuit of fortune since time immemorial, and many successful outcomes benefit from strokes of luck. But success is subject to complexity, uncertainty, and change – and at times becoming increasingly unequally distributed. This leads to tension and confusion over to what extent people actually get what they deserve (i.e., fairness/meritocracy). Moreover, in many fields, humans are over-confident and pervasively confuse luck for skill (I win, it’s skill; I lose, it’s bad luck). In some fields, there is too much risk- taking; in others, not enough. Where success derives in large part from luck – and especially where bailouts skew the incentives (heads, I win; tails, you lose) – it follows that luck is rewarded too much. This incentivizes a culture of gambling, while downplaying the importance of productive effort. And, short term success is often rewarded, irrespective, and potentially at the detriment, of the long-term system fitness. However, much success is truly meritocratic, and the problem is to discern and reward based on merit. We call this the fair reward problem. To address this, we propose three different measures to assess merit: (i) raw outcome; (ii) risk- adjusted outcome, and (iii) prospective. We emphasize the need, in many cases, for the deductive prospective approach, which considers the potential of a system to adapt and mutate in novel futures. This is formalized within an evolutionary system, comprised of five processes, inter alia handling the exploration-exploitation trade-off. -
The Beyond Heroes Roleplaying Game Book I: the Player's Guide
1 The Beyond Heroes Roleplaying Game Book XXIV: The Book of Artifacts Writing and Design: Marco Ferraro The Book of Artifacts Copyright © 2020 Marco Ferraro All Rights Reserved This is meant as an amateur free fan production. Absolutely no money is generated from it. Wizards of the Coast, Dungeons & Dragons, and their logos are trademarks of Wizards of the Coast LLC in the United States and other countries. © 2019 Wizards. All Rights Reserved. Beyond Heroes is not affiliated with, endorsed, sponsored, or specifically approved by Wizards of the Coast LLC. Contents Foreword 3 Buying Magical Items 3 Magic; rare or common? 4 Researching Magical Items 4 The Nature of Magical Fabrication 5 Scrolls and Potions 7 Creating other magical items 10 Recharging Magical Items 12 Destroying Magical Items 13 Artifacts and Relics 13 Magic Item Quick Roll Table 18 Arcane Artifact Quick Roll Table 22 Arcane Vehicle Quick Roll Table 24 Arcane Architecture Quick Roll Table 28 Mystical Materials 33 Future Materials 37 Normal Materials 37 Modern Armour 40 Materials from other universes 40 Armour Materials Table 47 Beyond Heroes Artifacts 51 DC Universe Artifacts 59 Marvel Universe Artifacts 93 Artifacts from other Comic Universes’ 119 Moorcock Artifacts 125 Dungeons and Dragons Artifacts 131 Folklore Artifacts 137 2 Intelligent creatures, on the other hand, Foreword tend to value magical items above other The Beyond Heroes Role Playing Game items of treasure. They recognize such is based on a heavily revised derivative items for what they are (unless the item version of the rules system from is very well disguised or unique) and Advanced Dungeons and Dragons 2nd take them.