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On the Political Sociology of the Imperial Greek City Arjan Zuiderhoek
On the Political Sociology of the Imperial Greek City Arjan Zuiderhoek But above all things, we must remind them that being a pol- itician consists not only in holding office, being ambassador, vociferating in the assembly and ranting round the speakers’ platform proposing laws and motions. Most people think all that is part of being a politician, just as they think of course that those are philosophers who sit in a chair and converse and prepare their lectures over their books. HUS WROTE PLUTARCH in his essay Whether an old man should engage in public affairs.1 It seems an offhand remark, T but all the more interesting for that. For here we have a comment on contemporary Greek civic politics, written prob- ably sometime in the first two decades of the second century, in which the activities of the Greek politicians of the day are described in terms (“vociferating in the assembly,” “ranting around the speaker’s platform”) at least to some extent rem- iniscent of the political world of democratic Athens centuries earlier. It is a description that does not quite seem to fit the common scholarly depiction of the later Hellenistic and Roman Greek cities as strongly oligarchic societies, dominated socially and politically by small coteries of (often interrelated) elite families whose governing institution of choice was the boule, the city council.2 This, then, prompts the question: which of these two contrasting images is nearer the truth? Should we dismiss Plutarch’s remarks as merely another manifestation of 1 Mor. 796C–D (transl. Fowler, modified). 2 See most recently M. -
The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Chapter 6 -- the Rise of Ancient Greece
Chapter Preview This chapter will examine the rise of Ancient Greece and the development of democracy, philosophy, and the arts during the Golden Age of Athens. Section I The Rise of Greek Civilization Sectiom 2 Religion, Philosophy, and the Arts Target Reading Skill Sequence ln this chaptel you will focus on using sequencing to help you understand how events are related to one another. Sequencing helps you see the order in which events happened and can help you understand and remember them. ) The ruins of the Temple of Poseidon in Greece 166 History of Our World W 'athon I Ephr I I l I i Crete i 0 miles 0 kilometers Lambert -Location Notice.the land of the ancient Greeks: the mainland and- the islands in the Aegean and Mediterranean Seas. The ancient Greeks ' *-Describealso built colonies on the coast of Asia Minori or modern-day Turkey. How would you describe the lands of the ancient Greeks? rGo q&nline L---+HSehool.com Use Web Code Study map some guesses * Draw Conclusions the to make about how mup-0601 for step-by-step '-.the people of ancient Greece earned a living. What role did the sea map skills practice. *iirobably have in their lives? Why do you think some Greeks left , ancient Greece to build cities elsewhere? Ch2'- Read Objectives Target epic (ee ik) n. a long poem ln this section you will Reading Skill that tells a story 1. Understand how Greece's geographic ldentify Sequence acropolis (uh rnan puh lis) setting influenced the development of Noting the order in which n. -
Summaries of the Trojan Cycle Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc. -
The Terracotta Figurines of Amisos. 14 I
The Terracotta figurines of Amisos School of Humanities MA in Black Sea Cultural Studies The Terracotta Figurines of Amisos . Name: Eleni Mentesidou Student ID: 221100015 Name of Supervisor: Pr. Styliani Drougou Submission Date: 18 November 2011 0 The Terracotta figurines of Amisos Abstract. The subject of the present dissertation is the terracotta figurines of Amisos’ workshop which is in its most productive period during Mithridates Eupator kingship. The study has been focused on the figurines in relation with the economic, political and religious life of Amisos. Aim of our research was to find out in what extent the city’s economy and culture as the political circumstances, during the period of its activity, affected the production of the amisian terracotta workshop. Before dealing with the main subject has been considered necessary an introduction concerning the location, the geography, the foundation and the history of Amisos in order to be understood the general historical and cultural context that effected the evolvement and the activity of the terracotta workshop. Moreover, the following analysis of Amisos’ economy as the description of the occupations and the products of the amisians demonstrate on the one hand that the production and the exportation of the terracotta figurines were part of Amisos’ economy and on the other hand that the coroplasts of the amisian workshop represent through the selection of their subjects the city’s economical life. The forth chapter deals with the figurines as products of the amisian workshop. However, the lack of scientific treatment coupled with the fact that the figurines are partly preserved and have been diffused all over the world, impedes their study. -
Poison King: the Life and Legend of Mithradates the Great, Rome's
Copyrighted Material Kill em All, and Let the Gods Sort em Out IN SPRING of 88 BC, in dozens of cities across Anatolia (Asia Minor, modern Turkey), sworn enemies of Rome joined a secret plot. On an appointed day in one month’s time, they vowed to kill every Roman man, woman, and child in their territories. e conspiracy was masterminded by King Mithradates the Great, who communicated secretly with numerous local leaders in Rome’s new Province of Asia. (“Asia” at this time referred to lands from the eastern Aegean to India; Rome’s Province of Asia encompassed western Turkey.) How Mithradates kept the plot secret remains one of the great intelli- gence mysteries of antiquity. e conspirators promised to round up and slay all the Romans and Italians living in their towns, including women and children and slaves of Italian descent. ey agreed to confiscate the Romans’ property and throw the bodies out to the dogs and crows. Any- one who tried to warn or protect Romans or bury their bodies was to be harshly punished. Slaves who spoke languages other than Latin would be spared, and those who joined in the killing of their masters would be rewarded. People who murdered Roman moneylenders would have their debts canceled. Bounties were offered to informers and killers of Romans in hiding.1 e deadly plot worked perfectly. According to several ancient histo- rians, at least 80,000—perhaps as many as 150,000—Roman and Italian residents of Anatolia and Aegean islands were massacred on that day. e figures are shocking—perhaps exaggerated—but not unrealistic. -
Building Materials and Techniqu63 in the Eastern
BUILDING MATERIALS AND TECHNIQU63 IN THE EASTERN MEDITERRANEAN FRUM THE HELLENISTIC PERIOD TO THE FOURTH CENTURY AD by Hazel Dodgeq BA Thesis submitted for the Degree of'PhD at the University of Newcastle upon Tyne Decembert 1984 "When we buildq let us thinjc that we build for ever". John Ruskin (1819 - 1900) To MY FAMILY AND TU THE MEMORY OF J. B. WARD-PERKINS (1912 - 1981) i ABSTRACT This thesis deals primarily with the materials and techniques found in the Eastern Empire up to the 4th century AD, putting them into their proper historical and developmental context. The first chapter examines the development of architecture in general from the very earliest times until the beginnin .g of the Roman Empire, with particular attention to the architecture in Roman Italy. This provides the background for the study of East Roman architecture in detail. Chapter II is a short exposition of the basic engineering principles and terms upon which to base subsequent despriptions. The third chapter is concerned with the main materials in use in the Eastern Mediterranean - mudbrick, timber, stone, mortar and mortar rubble, concrete and fired brick. Each one is discussed with regard to manufacture/quarrying, general physical properties and building uses. Chapter IV deals with marble and granite in a similar way but the main marble types are described individually and distribution maps are provided for each in Appendix I. The marble trade and the use of marble in Late Antiquity are also examined. Chapter V is concerned with the different methods pf wall construction and with the associated materials. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Greek-Anatolian Language Contact and the Settlement of Pamphylia
CHRISTINA SKELTON Greek-Anatolian Language Contact and the Settlement of Pamphylia The Ancient Greek dialect of Pamphylia shows extensive influence from the nearby Anatolian languages. Evidence from the linguistics of Greek and Anatolian, sociolinguistics, and the histor- ical and archaeological record suggest that this influence is due to Anatolian speakers learning Greek as a second language as adults in such large numbers that aspects of their L2 Greek became fixed as a part of the main Pamphylian dialect. For this linguistic development to occur and persist, Pamphylia must initially have been settled by a small number of Greeks, and remained isolated from the broader Greek-speaking community while prevailing cultural atti- tudes favored a combined Greek-Anatolian culture. 1. INTRODUCTION 1.1 BACKGROUND The Greek-speaking world of the Archaic and Classical periods (ca. ninth through third centuries BC) was covered by a patchwork of different dialects of Ancient Greek, some of them quite different from the Attic and Ionic familiar to Classicists. Even among these varied dialects, the dialect of Pamphylia, located on the southern coast of Asia Minor, stands out as something unusual. For example, consider the following section from the famous Pamphylian inscription from Sillyon: συ Διϝι̣ α̣ ̣ και hιιαροισι Μανεˉ[ς .]υαν̣ hελε ΣελυW[ι]ιυ̣ ς̣ ̣ [..? hι†ια[ρ]α ϝιλ̣ σιι̣ ọς ̣ υπαρ και ανιιας̣ οσα περ(̣ ι)ι[στα]τυ ̣ Wοικ[. .] The author would like to thank Sally Thomason, Craig Melchert, Leonard Neidorf and the anonymous reviewer for their valuable input, as well as Greg Nagy and everyone at the Center for Hellenic Studies for allowing me to use their library and for their wonderful hospitality during the early stages of pre- paring this manuscript. -
XI. St. Paul's Road from Cilicia to Iconium
PAULINE AND OTHER STUDIES IN EARLY CHRISTIAN HISTORY BY W. M. RAM SAY, HoN. D.C.L., ETC. PROF~~SOR OF HUMANITY IN THE UNIVERSITY OF ABERDEEN HODDER AND STOUGHTON LONDON MCMVI XI ST. PAUL'S ROAD FROM CILICIA TO I CONIUM XI ST. PAUL'S ROAD FROM CILICIA TO !CONIUM THE western part of Cilicia is a triangular plain, whose b}lse is the sea, and whose apex lies in a corner formed by the Taurus Mountains bounding Cilicia on the north. In the apex the river Saros issues from its wonderfully romantic course of more than a hundred miles through the lofty Taurus and enters the low sea plain. There was a time when this level plain was a great gulf of the sea. The gulf has been gradually filled up by the two great Cilician rivers, the Pyramos and the Saros, probably aided by slight elevations of the level of the land ; 1 and of the two rivers the Saros has been the chief agent in determining the character of the plain. The road from Syria and the East enters the western Cilician plain by a pass through which the Pyramos also enters the plain. At the western end of this pa:ss the river turns down towards the south, and the road crosses it by a large bridge (Fig. ro). The crossing has always been a highly important point in all military operations in Cilicia. A gar rison and a fortress had to be placed there to guard the passage of the river. Thus arose the city of Mopsou-Hestia, "the Hearth of Mopsus" (the Greek prophet and interpreter of the will of the Greek god Apollo, who marks the advance of the old Ionian colonists into the Cilician land). -
Model Selection
REIMAGINE NATURAL STONE MODEL SELECTION KERAMOS PEDASA THERA XANTHOS REIMAGINE NATURAL STONE PATARA GERGA AKROPOLIS SILLYON ETENNA REIMAGINE NATURAL STONE MARBLE SELECTION SANDY BEIGE ALNOIR BLACK BURSA BEIGE LILAC DARK EMPERADOR CLASSIC TRAVERTINE AEGEAN BROWN AEGEAN WHITE REIMAGINE NATURAL STONE KERAMOS PREMIUM MARBLE : AEGEAN WHITE Dimensions Overall dim: 165x136x43,5cm - 64,9x53,5x17,1 in Opening dim: 100x90cm - 39,3x34.4 in REIMAGINE NATURAL STONE KERAMOS PREMIUM MARBLE : AEGEAN BROWN Dimensions Overall dim: 165x136x43,5cm - 64,9x53,5x17,1 in Opening dim: 100x90cm - 39,3x34.4 in REIMAGINE NATURAL STONE KERAMOS PREMIUM MARBLE : AEGEAN WHITE Dimensions Overall dim: 165x136x43,5cm - 64,9x53,5x17,1 in Opening dim: 100x90cm - 39,3x34.4 in REIMAGINE NATURAL STONE PEDASA PREMIUM MARBLE : LILAC Dimensions Overall dim: 160x131x37,5cm - 62,9x51,5x14,7 in Opening dim: 100x90cm - 39,3x34,4 in REIMAGINE NATURAL STONE PEDASA PREMIUM MARBLE : SANDY BEIGE Dimensions Overall dim: 160x131x37,5cm - 62,9x51,5x14,7 in Opening dim: 100x90cm - 39,3x34,4 in REIMAGINE NATURAL STONE PEDASA PREMIUM MARBLE : DARK EMPERADOR Dimensions Overall dim: 160x131x37,5cm - 62,9x51,5x14,7 in Opening dim: 100x90cm - 39,3x34,4 in REIMAGINE NATURAL STONE PEDASA PREMIUM MARBLE : ALNOIR BLACK Dimensions Overall dim: 160x131x37,5cm - 62,9x51,5x14,7 in Opening dim: 100x90cm - 39,3x34,4 in REIMAGINE NATURAL STONE PEDASA PREMIUM MARBLE : AEGEAN WHITE Dimensions Overall dim: 160x131x37,5cm - 62,9x51,5x14,7 in Opening dim: 100x90cm - 39,3x34,4 in REIMAGINE NATURAL STONE THERA PREMIUM -
Aspects of the Demeter/Persephone Myth in Modern Fiction
Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed.