DOCSLIB.ORG

The Poetic Darkness of Aphrodite and Its Reception

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Poetic Darkness of Aphrodite and Its Reception THE POETIC DARKNESS OF APHRODITE AND ITS RECEPTION IN VERGIL’S AENEID . A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Natasha Marta Binek December 2018 © 2018 Natasha Marta Binek ALL RIGHTS RESERVED i THE POETIC DARKNESS OF APHRODITE AND ITS RECEPTION IN VERGIL’S AENEID . Natasha Marta Binek, Ph.D. Cornell University 2018 This dissertation examines the figuring of Aphrodite in the Greek poetic tradition and its reception in Vergil’s Aeneid . In particular, it considers the unflattering depictions of the goddess of love, along with her powers and complements, that, on the one hand, conceptualize her as a chaotic elemental force at odds with civilized existence, and, on the other, repeatedly subject her to humiliating disempowerment. Drawing on J. Mira Seo’s reading of characters as “nodes of intertextuality” (2013: 4) and extending to divine figures the insights of recent scholarship on the interpretative value of the dynamics of fama , I contend that the dark fama of the goddess of love is an intertextual presence in the Aeneid that shapes and dramatizes the process of the characterization of its Venus to an extent that has not been previously appreciated. In Vergil’s poem, we find fragments of Venus’ dark poetic past embedded within new narratives and reconfigured to new, often oppositional, effects. In turn, this composite make-up undermines the stability of her character, as past and present voices compete in a dialectical process that ultimately denies a fixed identity to this profoundly referential figure. I also posit that Vergil dramatizes the doubleness inherent in his Venus by “relocating” some of the dark elements that typify the poetic articulation of the goddess of love into the articulation of his Juno. In turn, this resonance of Juno’s characterization with Venus’ fama destabilizes the oppositional relationship between the Aeneid ’s divine antagonists, whose conflict in many ways ii shapes the poem. Finally, I show that the deep affinity between Juno and Venus is both dramatized in the seamless merging of their influence within Dido’s experience of an “odi et amo ” passion and amplified by the parallel erotic coloring that marks their preoccupation with Aeneas. In blurring the distinctness of the goddesses’ identities, Vergil invites critical reflection on poetic apprehensions of divine individuality and on other oppositional configurations, both within the world of his poem and within the historical realities with which it is engaged. iii BIOGRAPHICAL SKETCH Natasha M. Binek received both her B.A. and her M.A. from the University of Toronto. During her time as a graduate student at Cornell, Natasha presented her research at a number of international conferences. She also published an article on the controversial last segment of the Dipylon Oinochoe graffito. Currently, she holds the position of Classics Fellow at Marlboro College in Vermont. iv ACKNOWLEDGEMENTS First and foremost, I would like to thank the chair of my advisory committee, Hayden Pelliccia. With brilliant insight, thoughtfulness, and much-needed humor, he has guided my – sometimes storm-tossed – journey from Aphrodite of the Fifth Homeric Hymn all the way to Vergil’s Venus. I also owe a debt of gratitude to Caitlin Barrett for her unfailing encouragement, generosity, and kindness, and to Dave Makin, Verity Platt, and Joseph Reed for their invaluable comments, suggestions, and overall assistance. Warm thanks are likewise due to the Classics Department at Cornell for facilitating my academic growth in a constructive and caring environment. In particular, I would like to thank Eric Rebillard for his advice and unwavering support. Finally, I must acknowledge how much I owe to my husband Jeff, who left his comfortable life in Toronto to start from scratch in a small city in upstate New York. Eternally patient and positive, he has faithfully accompanied me on my academic adventures while keeping me grounded in the “real” world. Of course, this dissertation is dedicated to him! v TABLE OF CONTENTS Biographical Sketch iii Acknowledgements iv INTRODUCTION 1 CHAPTER 1 Reconfiguring a Shabby Greek Fama into a New Roman Goddess: The Multivocal Composition of Venus 1.1. The anagnorisis of Aphrodite 12 1.2. Aphrodite: a threat to civilized existence 16 1.3. Aphrodite: hateful and disempowered 31 1.4. A window into Venus’ dark fama 44 1.5. The Reconfigurations 49 Iliad 5 and the HHA 51 Iliad 3 66 Odyssey 8 and Iliad 14 74 Apollonius’ Argonautica 84 Bion’s Epitath on Adonis 87 1.6. Concluding remarks 96 CHAPTER 2 Juno and the Goddess of Love: The Enemy Within 2.1. When the dark self is someone else 98 2.2. Mechanics of influence: from Venus to Juno 101 2.3. Aphrodite: a force of nature 105 2.4. Juno: a force of nature 117 2.5. Juno: a threat to civilized existence 132 2.6. Juno: hateful and disempowered 156 2.7. Concluding remarks 161 vi CHAPTER 3 Loving or Hating Aeneas: “Same Difference” 3.1. Dido: odi et amo 163 3.2. Juno's erotic hate 166 3.3. The erotic mother 169 3.4. Concluding remarks 173 CONCLUSION 175 APPENDIX 1 Venus, the Good Roman Mother 179 APPENDIX 2 Dark AMOR in the Eclogues and Georgics 185 APPENDIX 3 The Anatomy of the Helen Episode Debate 196 and New Arguments for Vergilian Authorship BIBLIOGRAPHY 243 1 INTRODUCTION As the divine mother of the poem’s eponymous hero, Venus has a vital and sustained role in the Aeneid . Her assiduous involvement in the storyline frames the narrative: she intervenes on behalf of her son on three occasions in both the first and last book. In fact, the poem's very title underscores her importance, for according to the longer Homeric Hymn to Aphrodite, Aeneas' name reifies the goddess' terrible pain, αἰνὸν ἄχος (198-199) at having conceived a child in the bed of a mortal. 1 At a certain level, then, the Aeneid is actually the story of Venus's suffering, rooted in her ongoing participation in the mortal condition via her son and his descendants. Along with Jupiter and Juno, Venus is also a principal agent of the Aeneid ’s divine machinery, one of the formal features through which the Roman work signals its generic identity and close alignment with the Homeric tradition and in so doing activates Venus’ epic heritage. In fact, through her identity as a major Olympian goddess Vergil’s Venus also attracts sources beyond the epic genre. It is with a view of the complex ways in which the Aeneid ’s negotiates the extensive literary past of its Venus that this study considers the goddess of love in the Greek poetic tradition and her characterization in the Aeneid . Interpretations of Vergil’s Venus: the good, the bad, and the (un)sexy Like the Aeneid itself, the character of Vergil’s Venus has generated a wide range of interpretations. To begin with, it is a long-standing point of disagreement whether she constitutes a continuation of the Greek goddess of love in her function of embodied sexuality. Thus, in the middle of the 20 th century, Anderson felt compelled to counter the judgements presenting Venus 1 For the strong likelihood of Vergil’s familiarity with this text, see Sec. 1.5, note 128 and Sec. 3.3, pp. 171-172. 2 as “a colorless paragon of matronly respectability,” 2 by pointing to “traces of the old, capricious Aphrodite” (whom he terms a “disturbing lady of easy virtue”) in Venus’ encounter with her son in Book 1. 3 A comparison of scholarly views on what happens at the conclusion of this encounter vividly illustrates this interpretative disparity. Before she departs, Venus reveals herself to Aeneas as his mother through a change in form; her divine loveliness becomes apparent and pedes vestis defluxit ad imos (1.404). Harrison argues that the downward flow of her dress works to minimize the initial sensuality of her divine splendor and lends the goddess “a matronly gravity.” 4 The same scene, however, has also inspired Reckford to propose that Venus’ clothes slide off her body to foreground her “overwhelming erotic appeal.” 5 Scholars like Wlosok and Paschalis contend – on Harrison’s side – that Vergil very much downplays the goddess’ traditional nature, while Gutting, for instance, argues that the poet presents her as a relentless champion of the erotic. 6 A lack of scholarly consensus also attends two intersecting aspects of Vergil’s Venus: her role as mother and her ideological significance. In terms of the first, some stress Venus’ devotion to Aeneas, while others view her as sorely-lacking in her maternal function. The former group stresses her ardent concern and unrelenting assistance to her son throughout the poem; the latter focuses on her encounter with Aeneas in Book 1, seemingly adopting the emotional vantage point of the Trojan at the moment of her divine transformation: he accuses his mother of cruelty in her deceptions (1.407-409). Detractors of Venus see a deficiency of affection in the mother- son relationship and contrast this emotional distance with the warm interactions between Thetis 2 Anderson 1955: 233, citing Cartault (1926: 88) and Bailey (1935: 314). 3 Anderson 1955: 237 & 233. 4 Harrison 1972-73: 12-13. 5 Reckford 1995-96: 3. 6 Wlosok 1967: 108 et passim ; Paschalis: 1984; Gutting 2006: 11 et passim . 3 and Achilles in the Iliad .7 As for the ideological assessments of Vergil’s goddess, the divide in opinions is well illustrated by the stances of Wlosok and Lyne. The former writes of Venus in overwhelmingly positive terms, 8 seeing her as the advocate of peace and tranquility, who nevertheless – in her role as Aeneadenmutter and patron of what is beautiful – champions her people as they are called to fight “im Namen der göttlichen Ordnung und des Rechts zur Ahndung von Gewalt und Frevel.” 9 Lyne – to use his own words – takes “a very different view of Vergil’s Venus.” 10 In keeping with his anti-imperialist approach, Lyne sees Vergil’s portrayal of Augustus’ reputed ancestress as predominately negative: “One might expect Rome's great epic to defer to her and assign to her dignity, benevolence, magnificence.
Load more

Recommended publications
  • Kretan Cult and Customs, Especially in the Classical and Hellenistic Periods: a Religious, Social, and Political Study
    i Kretan cult and customs, especially in the Classical and Hellenistic periods: a religious, social, and political study Thesis submitted for degree of MPhil Carolyn Schofield University College London ii Declaration I, Carolyn Schofield, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been acknowledged in the thesis. iii Abstract Ancient Krete perceived itself, and was perceived from outside, as rather different from the rest of Greece, particularly with respect to religion, social structure, and laws. The purpose of the thesis is to explore the bases for these perceptions and their accuracy. Krete’s self-perception is examined in the light of the account of Diodoros Siculus (Book 5, 64-80, allegedly based on Kretan sources), backed up by inscriptions and archaeology, while outside perceptions are derived mainly from other literary sources, including, inter alia, Homer, Strabo, Plato and Aristotle, Herodotos and Polybios; in both cases making reference also to the fragments and testimonia of ancient historians of Krete. While the main cult-epithets of Zeus on Krete – Diktaios, associated with pre-Greek inhabitants of eastern Krete, Idatas, associated with Dorian settlers, and Kretagenes, the symbol of the Hellenistic koinon - are almost unique to the island, those of Apollo are not, but there is good reason to believe that both Delphinios and Pythios originated on Krete, and evidence too that the Eleusinian Mysteries and Orphic and Dionysiac rites had much in common with early Kretan practice. The early institutionalization of pederasty, and the abduction of boys described by Ephoros, are unique to Krete, but the latter is distinct from rites of initiation to manhood, which continued later on Krete than elsewhere, and were associated with different gods.
    [Show full text]
  • Marathon 2,500 Years Edited by Christopher Carey & Michael Edwards
    MARATHON 2,500 YEARS EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON MARATHON – 2,500 YEARS BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES SUPPLEMENT 124 DIRECTOR & GENERAL EDITOR: JOHN NORTH DIRECTOR OF PUBLICATIONS: RICHARD SIMPSON MARATHON – 2,500 YEARS PROCEEDINGS OF THE MARATHON CONFERENCE 2010 EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON 2013 The cover image shows Persian warriors at Ishtar Gate, from before the fourth century BC. Pergamon Museum/Vorderasiatisches Museum, Berlin. Photo Mohammed Shamma (2003). Used under CC‐BY terms. All rights reserved. This PDF edition published in 2019 First published in print in 2013 This book is published under a Creative Commons Attribution-NonCommercial- NoDerivatives (CC-BY-NC-ND 4.0) license. More information regarding CC licenses is available at http://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN: 978-1-905670-81-9 (2019 PDF edition) DOI: 10.14296/1019.9781905670819 ISBN: 978-1-905670-52-9 (2013 paperback edition) ©2013 Institute of Classical Studies, University of London The right of contributors to be identified as the authors of the work published here has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Designed and typeset at the Institute of Classical Studies TABLE OF CONTENTS Introductory note 1 P. J. Rhodes The battle of Marathon and modern scholarship 3 Christopher Pelling Herodotus’ Marathon 23 Peter Krentz Marathon and the development of the exclusive hoplite phalanx 35 Andrej Petrovic The battle of Marathon in pre-Herodotean sources: on Marathon verse-inscriptions (IG I3 503/504; Seg Lvi 430) 45 V.
    [Show full text]
  • Fiji Coleoptera Checklist 06/07/2006 03:59 PM
    Fiji Coleoptera Checklist 06/07/2006 03:59 PM Bishop Museum Technical Report 35(5) [2006] CHECKLIST OF THE COLEOPTERA OF FIJI compiled by Neal L. Evenhuis and Alistair S. Ramsdale ADERIDAE Hylophilus fenestratus Pic, 1932: 211 latioriceps Pic, 1932: 211 rufobasalis Pic, 1932: 212 taveuniensis Pic, 1932: 212 Xylophilus fijianus Champion, 1924: 493 labasae Champion, 1924: 492 rufiventris Champion, 1924: 492 ANOBIIDAE Exallophthalmus quinqueguttatus Fairmaire, 1881: 276 Lasioderma serricorne (Fabricius), 1792: 240 [Ptinus] testacea (Creutzer in Duftschmid), 1825: 46 [Ptilinus] Stegobium paniceum (Linnaeus), 1758: 357 [Dermestes] Tricorynus herbarius (Gorham), 1883: 207 [Cathorama] ANTHICIDAE Anthicus strictus Erichson, 1842: 182 [from Koronivia Collection] Notoxus pallidipes Pic, 1910: 70 ANTHRIBIDAE Araecerus allevatus Wolfrum, 1959: 163 http://hbs.bishopmuseum.org/fiji/checklists/coleoptera.html Page 1 of 59 Fiji Coleoptera Checklist 06/07/2006 03:59 PM dasymerus Wolfrum, 1959: 164 fasciculatus (De Geer), 1775: 276 [Curculio] greenwoodi Jordan, 1924: 246 nitidus Jordan, 1924: 250 rysus Wolfrum, 1959: 164 vieillardi (Montrouzier), 1860: 873 [Urodon] [from Koronivia Collection] vitistans Wolfrum, 1959: 162 vivax Wolfrum, 1959: 165 Cerambyrhynchus schonherri Montrouzier, 1857: 42 Dinema filicorne Fairmaire, 1849: 457 veitchi (Jordan), 1924: 256 [Proscopus] Dinosaphis inermis Wolfrum, 1959: 154 Paecilocaulus picturatus Fairmaire, 1881: 349 Plintheria vitiensis (Jordan), 1944: 141 [Alloderes] Plesiobasis centralis Wolfrum, 1959: 158 Rhinotropis
    [Show full text]
  • Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars.
    [Show full text]
  • Wjcl Certamen 2016 Advanced Division Round One
    WJCL CERTAMEN 2016 ADVANCED DIVISION ROUND ONE 1. Brontes, Steropes, and Arges were the name of these beings that helped Hephaestus in his forge under Mt. Etna. What is the name typically given to these three? CYCLOPES B1. Cottus, Briareus, and Gyges are the names of what beings with fifty heads and one hundred hands? HECATONCHEIRES B2. The Cyclopes and Hecatoncheires were siblings. Name their parents. URANUS AND GAIA 2. From what Latin verb with what meaning is the English word “tactile” derived? TANGŌ, TANGERE MEANING TO TOUCH B1. From what Latin verb with what meaning is the English word “nuptial” derived? NŪBŌ, NŪBERE MEANING TO MARRY/VEIL B2. From what Latin verb with what meaning is the English word “pensive” derived? PENDŌ, PENDERE MEANING TO HANG/WEIGH 3. Which governor of Syria declared himself emperor upon hearing a rumor that Marcus Aurelius had died and continued his revolt even after learning that Marcus Aurelius was alive? AVIDIUS CASSIUS B1. Which governor of Germania Superior led a rebellion against the emperor Domitian in 89 CE but failed due to a sudden thaw of the Rhine that prevented his allies from joining him? LUCIUS ANTONIUS SATURNINUS B2. Which governor of Syria declared himself emperor when Pertinax died and was defeated in battle, then killed while fleeing to Parthia? PESCENNIUS NIGER 4. What Latin word most nearly means “a groan”? GEMITUS, GEMITŪS B1. What Latin word most nearly means “reputation”? FĀMA, FAMAE B2. What Latin word most nearly means “fleet”? CLASSIS, CLASSIS 5. What author describes the plague of Athens in a didactic work edited by Cicero entitled De Rerum Natura? LUCRETIUS B1.
    [Show full text]
  • On the Months (De Mensibus) (Lewiston, 2013)
    John Lydus On the Months (De mensibus) Translated with introduction and annotations by Mischa Hooker 2nd edition (2017) ii TABLE OF CONTENTS Abbreviations .......................................................................................... iv Introduction .............................................................................................. v On the Months: Book 1 ............................................................................... 1 On the Months: Book 2 ............................................................................ 17 On the Months: Book 3 ............................................................................ 33 On the Months: Book 4 January ......................................................................................... 55 February ....................................................................................... 76 March ............................................................................................. 85 April ............................................................................................ 109 May ............................................................................................. 123 June ............................................................................................ 134 July ............................................................................................. 140 August ........................................................................................ 147 September ................................................................................
    [Show full text]
  • 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).
    [Show full text]
  • Gate to Vergil
    THE GATE TO VERGIL BY CLARENCE W. GLEASON, A.M. MASTER IN THE ROXBURY LATIN SCHOOL »'• * GINN & COMPANY BOSTON . NEW YORK • CHICAGO • LONDON COPYRIGHT, 1898, BY CLARENCE W. GLEASON ALL RIGHTS RESERVED 613.10 Wf)t gtftcngtttn jgregg GINN & COMPANY • PRO­ PRIETORS • BOSTON • U.S.A. Poeta fui e cantai di quel giusto Figliuol d' Anchise, che venne da Troja Poich^ '1 superbo Ilion fu combusto. "A poet was I, and I sang that just Son of Anchises, who came forth from Troy, After that Ilion the superb was burned." Inferno, I, 73-75 (Longfellow's translation). PREFACE. THE course of a pupil beginning the study of Latin is not a smooth one. He starts out bravely enough, with his beginner's book and easy Latin reader, but is no sooner comfortably under way than he finds himself upon the ragged reefs of the Gallic War or, perhaps, stranded on the uncertain shoals of Nepos. If by careful steering he gets safely past these dangers he is immediately confronted by new obstacles which threaten him in the form of Latin verse. The sky grows dark, difficulties gather on all sides ; eripiunt subito nubes caelumque diemque. Sometimes he loses heart and drops the helm or, in spite of all his efforts, drifts back and must begin his cruise anew. It is with a view to remove some of the chief difficulties in the beginner's way that the present book has been pre­ pared. As the purpose of the Gate to Vergil is somewhat different from that of the Gate to Caesar and Gate to the Anabasis the work has been planned on slightly different lines.
    [Show full text]
  • 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.
    [Show full text]
  • A Preliminary List of Shallow Water Decapod Crustacea in the Kerama Group, the Ryukyu Archipelago
    Bull Biogeogr. Soc. Japan 日本生物地理学会会報 51(2): 7-21. Dec. 20，1996 第 5 1巻第 2号1 996 年1 2 月 20 日 A preliminary list of shallow water decapod Crustacea in the Kerama Group, the Ryukyu Archipelago Keiichi Nomura, Seiji Nagai, Akira Asakura and Tomoyuki Komai Abstract. During a faunal survey of the Kerama いroup in 1978 and 1992-1994，S. Nagai and K. Nomura made intensive collections of decapod crustaceans. The material includes 299 species representing 37 families，excluding the Chirostylidae and Galatheidae. Of these, 47 species remain to be unidentified, because they include possibly undescribed or taxonomically proolematical species. First Japanese records are reported for the following 21 species, most of wmch are considered to be widely distributed in tropical and subtropical waters of the West Pacific or Indo-West Pacific: Odontozona ensifera, Discias exul， Leptochela irrobusta, Hamodactylus boshmai’ Periclimenaeus djiboutensis, P. hecate, Periclimenes amboinensis, P. cristimanus, P. novaecaledoniae, P. longirostris, Alpheus ehlersii, A. pareuchirus, A, tenuipes, Parabetaeus culliereti, Axiopsis serratifrons, Pylopaguropsis fimbriata, Petrolisthes extremus, Hyastenus uncifer, Tiarinia dana, Portunus mariei and Hypocolpus rugosus. Key words: Crustacea, Decapoda, Fauna, Kerama, Ryukyu Introduction seven species of porcellanid crab in intertidal zone of The Kerama Group, which belongs to the Okinawa Zamami-jima. Recently, Okuno (1994) recorded Islands, the Ryukyu Archipelago, is located 30 km three species of rhynchocinetid shrimps, including a west of Okinawa-jima，and consists of about 20 new species, Rhynchocinetes concolor, from Aka- islands of various sizes. Despite the considerable jima. development of coral reef and related environment, its During a faunal survey of the Kerama Group in marine fauna has been little studied in the past.
    [Show full text]
  • Dissertation Master
    APOSTROPHE TO THE GODS IN OVID’S METAMORPHOSES, LUCAN’S PHARSALIA, AND STATIUS’ THEBAID By BRIAN SEBASTIAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Brian Sebastian 2 To my students, for believing in me 3 ACKNOWLEDGMENTS A great many people over a great many years made this possible, more than I could possibly list here. I must first thank my wonderful, ideal dissertation committee chair, Dr. Victoria Pagán, for her sage advice, careful reading, and steadfast encouragement throughout this project. When I grow up, I hope I can become half the scholar she is. For their guidance and input, I also thank the members of my dissertation committee, Drs. Jennifer Rea, Robert Wagman, and Mary Watt. I am very lucky indeed to teach at the Seven Hills School, where the administration has given me generous financial support and where my colleagues and students have cheered me on at every point in this degree program. For putting up with all the hours, days, and weeks that I needed to be away from home in order to indulge this folly, I am endebted to my wife, Kari Olson. I am grateful for the best new friend that I made on this journey, Generosa Sangco-Jackson, who encouraged my enthusiasm for being a Gator and made feel like I was one of the cool kids whenever I was in Gainesville. I thank my parents, Ray and Cindy Sebastian, for without the work ethic they modeled for me, none of the success I have had in my academic life would have been possible.
    [Show full text]
  • 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).
    [Show full text]