A Companion to Ancient Education
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Homer, Or Another Poet of the Same Name: Four Translations of the Iliad
Wesleyan University The Honors College Homer, or Another Poet of the Same Name: Four Translations of the Iliad by Jonathan Joseph Loya Spira Class of 2016 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Classics Middletown, Connecticut April, 2016 I owe thanks for this thesis and to my graduation to my mother and father, who made me into the person I am through a loving dedication to the numerous thousands of things I have decided are my ‘true calling.’ I would not just be a different person without them, I genuinely do not think I would have survived myself. To my sister, whom I trust with everything important. I don’t think I’ll ever have a friend quite like her. To my advisor, Professor Andy, who has lived through many poorly written drafts, week in and week out. I owe him a debt of gratitude for trusting in me to bring it all together here, at the end of all things. To my first friend, Michael, and to my first friend in college, Sarah. To Gabe, who I have lived with for thousands of miles, only 40 of them being excessive. Frequently, they are the three who keep me together as a person, which is to say that they are the people who I fall apart on the most. To my friends of 50 Home: Sam, Liz, Adi, Johnny, Sarah: I try every day to be as good a friend to you as you are to me; and to those outside our quiet street: Mads, Avi, Jason; and the Classics friends I have made who have defined my senior year: Shoynes, Beth, Sharper, Jackson, Mackenzie, Maria; to Ward, who I love like a brother, and to Professor Visvardi, the professor I did not have the first three years and am incredibly grateful to have had since. -
Evaluation of 2-Way Iraqi Arabic–English Speech Translation Systems Using Automated Metrics
Mach Translat (2012) 26:159–176 DOI 10.1007/s10590-011-9105-x Evaluation of 2-way Iraqi Arabic–English speech translation systems using automated metrics Sherri Condon · Mark Arehart · Dan Parvaz · Gregory Sanders · Christy Doran · John Aberdeen Received: 12 July 2010 / Accepted: 9 August 2011 / Published online: 22 September 2011 © Springer Science+Business Media B.V. 2011 Abstract The Defense Advanced Research Projects Agency (DARPA) Spoken Language Communication and Translation System for Tactical Use (TRANSTAC) program (http://1.usa.gov/transtac) faced many challenges in applying automated measures of translation quality to Iraqi Arabic–English speech translation dialogues. Features of speech data in general and of Iraqi Arabic data in particular undermine basic assumptions of automated measures that depend on matching system outputs to refer- ence translations. These features are described along with the challenges they present for evaluating machine translation quality using automated metrics. We show that scores for translation into Iraqi Arabic exhibit higher correlations with human judg- ments when they are computed from normalized system outputs and reference trans- lations. Orthographic normalization, lexical normalization, and operations involving light stemming resulted in higher correlations with human judgments. Approved for Public Release: 11-0118. Distribution Unlimited. The views expressed are those of the author and do not reflect the official policy or position of the Department of Defense or the U.S. Government. Some of the material in this article was originally presented at the Language Resources and Evaluation Conference (LREC) 2008 in Marrakesh, Morocco and at the 2009 MT Summit XII in Ottawa, Canada. S. Condon (B) · M. -
The Shields of Achilles and Aeneas: the Worlds Portrayed by Homer and Vergil
Vanessa Peters The Shields of Achilles and Aeneas: The Worlds Portrayed by Homer and Vergil The epic simile is a common device in epic poetry; it forms a relationship between two un- likely things and causes one to be viewed through the lens of the other. Unlike a normal simile, an epic simile has a fully developed vehicle that reflects the complexity back on the tenor; that is, an epic sim- ile, in its increased length and depth, can have layers of complexity that a normal simile cannot. The shield of Achilles (Hom. Il. 18.558-709) in Book 18 of Homer’s Iliad and the shield of Aeneas (Verg. Aen. 8.738-858) in book 8 of Vergil’s Aeneid are examples of epic similes, in which the poet takes the role of the god who forges the shield and can comment on society unobtrusively.1 These shields convey different perspectives of Greek and Roman society. Whereas Homer shows the world of peace in con- trast to the world of war to illustrate the tragedy of the Iliad, Vergil expresses Roman triumphalism to glorify Rome and her people. Book 18 of the Iliad marks a turning point in the epic. In it, Achilles decides to return to bat- tle in order to avenge Patroclus’ death by killing Hector. Since he has lost his armour to the enemy, his mother Thetis, knowing that his fate is sealed, beseeches Hephaestus to forge him a new set (Il. 18.534). The god agrees to her request and sets out to work, creating a magnificent shield for Achilles to wear in battle. -
2RPP Contents
2RPP The Best of the Grammarians: Aristarchus of Samothrace on the Iliad Francesca Schironi https://www.press.umich.edu/8769399/best_of_the_grammarians University of Michigan Press, 2018 Contents Preface xvii 1. Main Sources and Method Followed in This Study xix 2. Other Primary Sources and Secondary Literature Used in This Study xx 3. Content, Goals, and Limitations of This Study xxiii Part 1. Aristarchus: Contexts and Sources 1.1. Aristarchus: Life, Sources, and Selection of Fragments 3 1. Aristarchus at Alexandria 3 2. The Aristarchean Tradition and the Venetus A 6 3. The Scholia Maiora to the Iliad and Erbse’s Edition 11 4. Aristarchus in the Scholia 14 4.1. Aristonicus at Work 15 4.2. Didymus at Work 18 4.3. Aristonicus versus Didymus 23 5. Selecting Aristarchus’ Fragments for This Study 26 6. Words and Content in Aristarchus’ Fragments 27 1.2. Aristarchus on Homer: Monographs, Editions, and Commentaries 30 1. Homeric Monographs 31 2. Editions (Ekdoseis) and Commentaries (Hypomnemata): The Evidence 35 2.1. Ammonius and the Homeric Ekdosis of Aristarchus 36 2.2. Ekdoseis and Hypomnemata: Different Reconstructions 38 3. The Impact of Aristarchus’ Recension on the Text of Homer 41 4. Ekdoseis and Hypomnemata: Some Tentative Conclusions 44 Part 2. Aristarchus at Work 2.1. Critical Signs: The Bridge between Edition and Commentary 49 1. The Critical Signs (σημεῖα) Used by the Alexandrians 49 2RPP The Best of the Grammarians: Aristarchus of Samothrace on the Iliad Francesca Schironi https://www.press.umich.edu/8769399/best_of_the_grammarians viiiUniversity of Michigan Press, 2018contents 2. Ekdosis, Hypomnema, and Critical Signs 52 3. -
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Strokes and Hairlines Elegant Writing and its Place in Muslim Book Culture Adam Gacek Strokes and Hairlines Elegant Writing and its Place in Muslim Book Culture An Exhibition in Celebration of the 60th Anniversary of The Institute of Islamic Studies, McGill University February 11– June 30, 2013 McLennan Library Building Lobby Curated by Adam Gacek On the front cover: folio 1a from MS Rare Books and Special Collections AC156; for a description of and another illustration from the same manuscript see p.28. On the back cover: photograph of Morrice Hall from Islamic Studies Library archives Copyright © 2013 McGill University Library ISBN 978-1-77096-209-5 3 Contents Foreword ..............................................................................................5 Introduction ........................................................................................7 Case 1a: The Qurʾan ............................................................................9 Case 1b: Scripts and Hands ..............................................................17 Case 2a: Calligraphers’ Diplomas ...................................................25 Case 2b: The Alif and Other Letterforms .......................................33 Case 3a: Calligraphy and Painted Decoration ...............................41 Case 3b: Writing Implements .........................................................49 To a Fledgling Calligrapher .............................................................57 A Scribe’s Lament .............................................................................58 -
WH Auden: Poems Summary and Analysis of "The Shield of Achilles"
W. H. Auden: Poems Summary and Analysis of "The Shield of Achilles" Thetis looks at the images on the shield that Hephaestos has been making for Achilles during the Trojan War. She expected to see olive trees and vines and marble cities and ships on windy seas, but Hephaestos has forged “an artificial wilderness” under a leaden sky. The plain is bare and brown, but a great multitude of boots stand ready for war. A faceless voice dryly explains with statistics why war is required for justice, so they march forth. Thetis also expected scenes of religious piety, but that is not what Hephaestos has been making. Barbed wire encloses a military camp in “an arbitrary spot,” and civilians observe from a distance while the camp punishes three pale prisoners by binding them to upright posts. No hope comes from outside. The prisoners and the citizens are too “small,” and the prisoners (perhaps also the other characters) “lost their pride / And died as men before their bodies died.” Thetis has looked a third time over the shoulder of Hephaestos while he works. She looks for athletes and dancers enjoying games and music, but on the shield there was a “weed-choked field” instead of a dancing floor. One poor child wanders about alone, throwing a stone at a bird that flies away to escape. To him rape and murder seem normal. The child has never heard of a place with kept promises or even human sympathy. Hephaestos limps away, revealing the whole shield to Thetis, who cries out in horror at its imagery. -
Creating Standards
Creating Standards Unauthenticated Download Date | 6/17/19 6:48 PM Studies in Manuscript Cultures Edited by Michael Friedrich Harunaga Isaacson Jörg B. Quenzer Volume 16 Unauthenticated Download Date | 6/17/19 6:48 PM Creating Standards Interactions with Arabic Script in 12 Manuscript Cultures Edited by Dmitry Bondarev Alessandro Gori Lameen Souag Unauthenticated Download Date | 6/17/19 6:48 PM ISBN 978-3-11-063498-3 e-ISBN (PDF) 978-3-11-063906-3 e-ISBN (EPUB) 978-3-11-063508-9 ISSN 2365-9696 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019935659 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Dmitry Bondarev, Alessandro Gori, Lameen Souag, published by Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck www.degruyter.com Unauthenticated Download Date | 6/17/19 6:48 PM Contents The Editors Preface VII Transliteration of Arabic and some Arabic-based Script Graphemes used in this Volume (including Persian and Malay) IX Dmitry Bondarev Introduction: Orthographic Polyphony in Arabic Script 1 Paola Orsatti Persian Language in Arabic Script: The Formation of the Orthographic Standard and the Different Graphic Traditions of Iran in the First Centuries of -
Françoise Létoublon We Shall Here Study the Possible Coherence Or
Brolly. Journal of Social Sciences 1 (2) 2018 LIVING IN IRON, DRESSED IN BRONZE: METAL FORMULAS AND THE CHRONOLOGY OF AGES1 Françoise Létoublon UFR LLASIC University Grenoble-Alpes, France [email protected] Abstract. Names of important metals such as gold, silver, iron, and bronze occur many times in the Homeric Epics. We intend to look at them within the framework of oral poetry, with the purpose to determine if they form a more or less coherent set of “formulas”, in the sense defined by Milman Parry and the Oral Poetry Theory2, and to test a possible link with the stages of the evolution of humankind. Though several specialists criticized some excess in Parry’s and Lord’s definitions of the formula, we deem the theory still valuable in its great lines and feel no need to discuss it for the present study3. The frequent use of bronze in epical formulas for arms, while the actual heroes fight their battles with iron equipment, and the emphasis of gold in the descriptions of wealth may reflect a deep-seated linguistic memory within the archaic mindset of the Ages of Mankind. With Homer’s language as our best witness, metal formulas testify to the importance of the tradition of the Ages of Mankind in understanding the thought patterns and value-systems, as well as some linguistic usages of the Homeric Epics. Keywords: oral poetry, the Myth of Ages, metals, gold, bronze, iron, metaphors, anthropology We shall here study the possible coherence or opposition between linguistic and literary artefacts in Homer and Hesiod on one hand, and archaeological or historical data on the other. -
Morning,Paramin
New West Indian Guide 92 (2018) 245–273 nwig brill.com/nwig Morning, Paramin Derek Walcott, Peter Doig, and an Ekphrasis of Relation Maria Cristina Fumagalli* University of Essex [email protected] Abstract In Morning, Paramin (2016), 51 new poems by Derek Walcott are in dialogue with 51 paintings by Peter Doig. Walcott, also an accomplished painter, has often engaged with the visual arts, but this is the first volume in which every poem “cor-responds” to a painting, offering unique opportunities to examine Walcott’s ekphrastic practices and the way in which they might offer alternatives to current paradigms. Rejecting the paradigm of a paragonal struggle for dominance, I will argue that Morning, Paramin is shaped by an ekphrasis of Relation (resonating with Glissant’s poetics of Relation) in which the verbal and the visual interact in complex ways, exercising mutual reclaim- ings of agency and transformative dialogues that engender new composite works of art governed by a noncompetitive, nonexploitative approach; as otherness is reconfigured, the right to “opacity” is upheld, and each image and word contribute to a whole bigger than the sum of its parts. Keywords Derek Walcott – Peter Doig – Morning, Paramin – ekphrasis – Relation – otherness – creolization Morning, Paramin is a sustained dialogue between 51 new poems by Derek Wal- cott, which appear on the verso pages of the collection, and 51 paintings by the contemporary artist Peter Doig, which appear on the recto pages (Walcott * I would like to thank the Leverhulme Trust for the Major Research Fellowship which is sup- porting my current project, a monograph provisionally entitled DerekWalcott’sPainters which provides the overarching framework for this article. -
Auden's Homer: “The Shield of Achilles” W.H. Auden's “The Shield
Auden’s Homer: “The Shield of Achilles” W.H. Auden’s “The Shield of Achilles” makes intense demands of its reader. In this talk, I suggest that a knowledge of Homer’s Iliad deepens Auden’s already-powerful argument against heroic violence. In his introduction to Viking’s Portable Greek Reader, W.H. Auden speaks of the European education in Classics that was standard thirty-five years before, and has all but vanished by the time he comes to edit this anthology in 1948. “The Shield of Achilles”, which Auden wrote three years later, presents a certain challenge. One is tempted to ask what the educated reader of poetry, who has perhaps not happened to read the Iliad, far less translated passages from it into English iambic pentameter, will make of this poem that hides the identities of the principals until the last seven lines, yet hints all along that we know just who Homer’s actors are in this poem. Auden had not only Greek and Latin poetry in his extraordinary memory, but great swaths of English poetry as well. The “Shield”’s careful metrical structure, as well as its language, show influences and echoes of Milton, Keats, the Book of Common Prayer, and doubtless much more. The poem’s nine stanzas alternate one lyric stanza with a pair of stanzas in rhyme royal. The contents of the stanzas adhere to their meters, such that the lyric stanzas inhabit Auden’s (and Achilles’) Iliadic world, and every one but the last lyric stanza starts with the same words: “She looked over his shoulder / For ...”. -
Will D. Desmond
1 HEGEL, HOMER, HEROISM WILL D. DESMOND _Abstract: The genre of epic poetry flnds a place within Hegel's aesthetics and taking Homer's Iliad as paradigmatic he analyzes epic in the triadic terms typical of his dialectic. This article surveys Hegel's diverse ideas on epic and Homer's Iliad in particular - ideas about the thematic unity of epic, its combination of cosmic breadth with vivid detail, its significant actions and passions, its fully rounded characters both human and divine, its heroes and heroic wars that exemplify the essence of the world-historical cultures that produced epic poems. Such ideas contribute to a systematic and often compelling whole, and this article offers some other detailed examples to bolster a Hegelian interpretation of the Iliad. On the other hand, aspects of the Iliad stoutly resist a Hegelian treatment and when Hegel at times envisions his philosophy of history as a kind of philosophical epic, one imagines that the poet of the Trojan "\Var "\Vould have been unconvinced, given his o'\.vn more somber treatment of anger, conflict, the death of loved ones, and the gods' immortality. When it comes to the Greeks, Hegel is most commonly associated with tragedy, and especially Sophocles' Antigone. This was his favourite play from an early age and in its characterization and plot it seems plausibly to illustrate the central Hegelian idea that the Spirit advances by opposition and passionate unreason from one-sided abstractions towards the inclusive and all-embracing. In a play like the Antigone, tragic poetry seems to adumbrate the insights of philosophy itself and so gains Hegel's highest admiration. -
English and Arabic Speech Translation
Normalization for Automated Metrics: English and Arabic Speech Translation Sherri Condon*, Gregory A. Sanders†, Dan Parvaz*, Alan Rubenstein*, Christy Doran*, John Aberdeen*, and Beatrice Oshika* *The MITRE Corporation †National Institute of Standards and Technology 7525 Colshire Drive 100 Bureau Drive, Stop 8940 McLean, Virginia 22102 Gaithersburg, Maryland 20899–8940 {scondon, dparvaz, Rubenstein, cdoran, aberdeen, bea}@mitre.org / [email protected] eral different protocols and offline evaluations in Abstract which the systems process audio recordings and transcripts of interactions. Details of the The Defense Advanced Research Projects TRANSTAC evaluation methods are described in Agency (DARPA) Spoken Language Com- Weiss et al. (2008), Sanders et al. (2008) and Con- munication and Translation System for Tac- don et al. (2008). tical Use (TRANSTAC) program has Because the inputs in the offline evaluation are experimented with applying automated me- the same for each system, we can analyze transla- trics to speech translation dialogues. For trans- lations into English, BLEU, TER, and tions using automated metrics. Measures such as METEOR scores correlate well with human BiLingual Evaluation Understudy (BLEU) (Papi- judgments, but scores for translation into neni et al., 2002), Translation Edit Rate (TER) Arabic correlate with human judgments less (Snover et al., 2006), and Metric for Evaluation of strongly. This paper provides evidence to sup- Translation with Explicit word Ordering port the hypothesis that automated measures (METEOR) (Banerjee and Lavie, 2005) have been of Arabic are lower due to variation and in- developed and widely used for translations of text flection in Arabic by demonstrating that nor- and broadcast material, which have very different malization operations improve correlation properties than dialog.