GCE Classical Civilisation Unit 2F
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Symbolic Victory Signaling Strength Through Battlefield Choice (Paper in Progress)
Symbolic Victory Signaling Strength through Battlefield Choice (Paper in Progress) Richard Jordan August 7, 2014 Abstract Strong states can fight riskier battles in order to signal their strength and con- clude wars. I open with the broad question, why do some battles end wars, while others do not? I argue that Clausewitz' conception of decisive victory does not describe the majority of war-deciding engagements. The larger literature on bar- gaining and war proves equally unhelpful: while it predicts war termination should correlate with its duration (since fighting causes beliefs to converge), empirical tests have failed to corroborate this hypothesis. Focusing on the game theoretic litera- ture, I suggest this failing results from the assumption that generals cannot choose their battlefields. I argue that where and how a general fights conveys information: stronger states can (and will) fight on more difficult ground and for more difficult objectives than weak states. This decision conveys information to an enemy; this additional information increases our ability to predict war termination. In short, strategic risk is a costly signal in war. After developing this logic informally, I develop it further in a formal, game theoretic model of symbolic victory. Finally, I briefly illustrate the model with cases from the Second World War and the Second Punic War. 1 In 1800 Daniel Steibelt, a pianist of some renown, challenged the young Ludwig van Beethoven to an improvisational duel. Confident in his abilities, Steibelt played a quintet of his own composition and then|in an unmistakable insult|improvised on one of Beethoven's own themes. Furious, Beethoven strode to the piano, on his way snatching the cello part of Steibelt's quintet. -
Historical Background
Historical background Carthage and Rome were both emerging superpowers of the Mediterranean. Rome built its power upon the infantry and conscription system. No matter how many defeats the Romans suffered, they were always able to overcome the enemy by recruiting new troops. Carthage’s wealth came from trade and the strength of its navy. Both superpowers had been allies fighting against their common enemy - the mighty Pyrrhus, King of Epir. But it took them only 12 years to be turned into enemies. The casus belli was the Carthaginian attempt to gain control over Sicily. Rome considered this a major threat towards its control over the entire Italian peninsula. he First Punic War lasted 23 years. In 264 BC, the Romans laid laid siege to Saguntum, the Romans objected, making it another ca- T siege to Syracuse and forced this small kingdom to break its al- sus belli. In 218 BC Hannibal raised an army and crossed the Alps, liance with Carthage and become yet another ally of Rome. The Car- defeating Publius Scipio at the Ticinus River. Right after, Hannibal thaginians thought that they could overcome the Romans just as they invaded Italy, achieving his most significant victory in the Battle of did Pyrrhus – by fortifying important cities and keeping their naval Cannae in 216 BC annihilating entire Roman army in the process. superiority. Rome had no navy, thus it was supposed to lose the war in However, Hannibal refrained from besieging the Rome itself and in- the long term anyway. stead decided to cut off the Romans from their allies, who – just as However, in 262 BC the Romans successfully besieged the fortress Capua and Tarentum – begun to switch sides. -
Command & Colors: Ancients SCENARIOS
Command & Colors: Ancients 1 Command & Colors: Ancients SCENARIOS THE BATTLE OF AKRAGAS – 406 BC 2nd BATTLE OF BENEVENTUM - 214 BC crimissos river – 341 BC CASTULO – 211 BC bagradas – 253 BC BAECULA – 208 BC TICINUS river – 218 BC METAURUS - 207 BC Trebbia – 218 BC ILIPA – 206 BC LAKE TRASIMENUS – 217 BC Great plains – 203 BC CANNAE – 216 BC DERTOSA – 215 BC ZAMA – 202 BC Game Design by Richard Borg GMT Games, LLC P.O. Box 1308, Hanford, CA 93232-1308 • www.GMTGames.com © 2006 GMT Games, LLC 2 Command & Colors: Ancients THE BATTLE OF AKRAGAS – 406 BC CARTHAGINIAN Mago Himilco MA HM A AA LC CH LB L CH LB LB L LC A H H H H A A MC Daphnaeus Dionysius SYRACUSAN Historical Background War Council It is a time of violent competition between the Syracusan Ty- Carthagian Army rants (military dictators) and Carthage for control of Sicily. The • Leader: Himilco Carthaginians under Himilco have besieged Akragas, a city al- • 5 Command Cards lied with Syracuse, prompting Daphnaeus and his army to march to its aid. The Carthaginians split their army into an observation Syracusan Army force in front of Akragas, and a blocking force sent to oppose • Use Roman blocks Daphnaeus. The Carthaginian army was almost totally merce- • Leader: Daphnaeus nary, while Daphnaeus’s contained veteran heavy infantry that • 6 Command Cards proved invincible when committed to the battle. The survivor’s • Move First of Himilco’s badly beaten army fled to the coastal fort shelter- Victory ing Mago’s observation force. There was no pursuit and no fur- 5 Banners ther battle. -
A Reappraisal of Hannibal's Use of Elephants
0DJLVWHU(OHSKDQWRUXP$5HDSSUDLVDORI+DQQLEDO V 8VHRI(OHSKDQWV 0LFKDHO%&KDUOHV3HWHU5KRGDQ Classical World, Volume 100, Number 4, Summer 2007, pp. 363-389 (Article) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/clw.2007.0054 For additional information about this article http://muse.jhu.edu/journals/clw/summary/v100/100.4charles.html Access provided by University of Queensland (17 Sep 2015 03:29 GMT) 363 MAGISTER ELEPHANTORVM: A REAPPRAISAL OF HANNIBAL’S USE OF ELEPHANTS ABSTRACT: This article, which examines all the available evidence for Hannibal’s use of elephants in the Second Punic War, refutes the conten- tion that Hannibal was especially innovative in his tactical use of the beasts. In addition, greater reliance on elephants in Italy, particularly after his success at the Trebia, would have hindered Hannibal in his lengthy cam- paign against Rome. The article also contends that Hannibal’s use of massed elephants at Zama highlights the degree to which he was accustomed to take chances in the field, especially given his demonstrable familiarity with the fickle nature of elephants when used for military purposes. Over the years, much has been written about the Carthaginian general Hannibal and his use of elephants during the Second Punic War. 1 Outwardly, it might appear as if the topic were a closed one and that there is little new to add. Despite this, a recent article by Jacob Edwards has added something new—and indeed controversial— by arguing that Hannibal might have achieved much more success in Italy than he did if a greater number of his elephants had sur- vived the arduous trek across the Alps.2 Edwards also suggests that “Hannibal’s use of elephants is one of thwarted genius,”3 the impli- cation being that Hannibal had developed an almost unique grasp of the manner in which elephants could be used in warfare. -
Introduction
Southern Ontario Model United Nations Assembly XLIV Crisis: Second Punic War Introduction: Delegates, Welcome to the Southern Ontario Model United Nations Assembly’s Second Punic War Historical Crisis. The Second Punic War, also known as the Hannibalic War, was a conflict that occurred from 218 – 201 BCE in the Western Mediterranean. The war was fought between Carthage, a dominant commercial empire, and the emerging power of Rome. This conflict marked the second time that the two powers had fought, and with Rome having been victorious in the first Punic War thirty years prior, Carthage was eager for revenge. It also featured the rise to the annals of history a variety of great men, such as legendary Carthaginian general Hannibal Barca and Publius Cornelius Scipio Africanus. The rise of Rome in the Western Mediterranean would lead to an epic showdown that would change the course of history. In this particular committee, the SOMA Crisis Staff and Heads will create a simulation of these historical events, hopefully making them as enjoyable and interesting as possible, while maintaining historical fidelity. This background guide will give you a basic Page |1 Southern Ontario Model United Nations Assembly XLIV Crisis: Second Punic War knowledge of both the situation and how you, as a delegate, can influence the Crisis, but further research, as well as inquiry into the process of Crisis is welcome and encouraged. With all this in mind, we are excited to welcome you to SOMA XLIV Crisis Committee and we hope you enjoy your time with us. Margaret Fei Clarke VandenHoven Alec Sampaleanu Helen Kwong Director of Crisis Head of Crisis Jr. -
Bad Girls Handout Revised
STEPHANIE DRAY LILY OF THE NILE A NOVEL OF www.stephaniedray.com CLEOPATRA’S : DAUGHTER Hits Bookshelves January 2011 A survey of women’s history through the eyes of a historical fiction Bad Girls of the Ancient World novelist. HOW TO FALL AFOUL OF THE PATRIARCHY IN THREE EASY STEPS PICK UP A WEAPON Though examples of warrior women can be found in ancient literature even before the appearance of the Amazons in Homer’s tales, women who fought were considered to be unnatural. DABBLE IN PHILOSOPHY, RELIGION OR MAGIC For the ancients, religion was mostly a matter Queen Cleopatra VII, of Egypt for the state. The idea that a god of the pantheon might take a personal interest in a woman beyond seducing her or punishing her was preposterous. Consequently, priestesses were often viewed with suspicion. Alexander the Great’s mother, Olympias, was always suspected of sorcery, in part, because King Phillip fell in love with her during a religious initiation. Queen Zenobia of Palmyra Olympias of Macedonia BE SEXY Ancient man feared female sexuality and the These historical women have been painted and sway it might have over his better judgment. sculpted throughout the ages. If well-behaved The surest propaganda against an ancient women seldom make history, this should tell you queen was to depict her as a licentious seductress; a charge that has never clung with something about these ladies. more tenacity to any woman than it has to Cleopatra VII of Egypt. Copyright © 2011 Stephanie Dray, All Rights Reserved BAD GIRLS OF THE ANCIENT WORLD! PAGE2 Queen Dido commits suicide Pierre-Narcisse, baron Guérin’s painting of the famous but fictional romance between Dido and Aeneas Timeline & Relationships Dido of Carthage 800 BC Cleopatra Selene’s husband, King Dido Juba II, claimed descent from this legendary queen Queen Dido of Carthage (also Olympias of Macedonia 375 BC Alexander the Great was the son known as Elissa) was of this ambitious woman. -
The Story of Carthage, Because One Has to Tell It Without Sympathy, and from the Standpoint of Her Enemies
li^!*^'*,?*^','. K lA, ZT—iD v^^ )A Cfce ®tor? of tfte iSations. CARTHAGE THE STORY OF THE NATIONS. Large Crown 8vo, Cloth, Illustrated, ^s. 1. ROME. Arthur Oilman, M.A. 2. THE JEWS. Prof. J. K. Hosmer. 3. GERMANY. Rev. S. Baring-Gould, M.A. 4. CARTHAGE. Prof. A. J. Church. 5. ALEXANDER'S EMPIRE. Prof. J. P. Mahaffy. 6. THE MOORS IN SPAIN. Stanley Lane-Poole. 7. ANCIENT EGYPT. Canon Raw- LINSON. 8. HUNGARY. Prof. A. Vambery. 9. THE SARACENS. A. Oilman, M.A. 10. IRELAND. Hon. Emily Lawless. 11. THE GOTHS. Henry Bradley. 12. CHALD^A. Z. A. Ragozin. 13. THE TURKS. Stanley Lane-Poole. 14. ASSYRIA. Z. A. Ragozin. 15. HOLLAND. Prof. J. E. Thorold Rogers. 16. PERSIA. S.W.Benjamin. London ; T. PISHEE UNWIN, 2 6, Paternoster Square, E.G. CARTHAGE OR THE EMPIRE OF AFRICA ALFRED J. CHURCH, M.A. '* PROFESSOR OF LATIN IN UNIVERSITY COLLEGE, LONDON, AUTHOR OP STORIES FROM HOMER," ETC., ETC. WITH THE COLLABORA TION OF ARTHUR OILMAN, M.A. THIRD EDITION, gtrnhon T. FISHER UNWIN 26 PATERNOSTER SQUARE NEW YORK : O. P. PUTNAM'S SONS MDCCCLXXXVII SEEN BY PRESERVATION SERVICES M } 7 4Q«^ Entered at Stationers' Hall By T. fisher UNWIN. Copyright by G. P. Putnam's Sons, 1886 (For the United States of America), PREFACE. It is difficult to tell the story of Carthage, because one has to tell it without sympathy, and from the standpoint of her enemies. It is a great advantage, on the other hand, that the materials are of a manage- able amount, and that a fairly complete narrative may be given within a moderate compass. -
Witches and Wives. Female Crusade for the Acquisition of Meaningful Roles Iln Jacobean Drama
EPOS, XVII (2001), págs. 279-293 WITCHES AND WIVES: FEMALE CRUSADE POR THE ACQUISITION OF MEANINGFUL ROLES ESf JACOBEAN DRAMA SoNiA HERNÁNDEZ SANTANO Universidad de Huelva ABSTRACT The crisU of absoluti«n. and the reUgious tensions in the fir«t decades of IT" " , ,, „, the level of social and famÜial organizaüon. The pa- century m Europe were felt at the level ot so concerning the rela- triarchal system began to fad and ^^yf^ll^Z^Z gender crisis became one tionship between sexes were brou^t -t» q"-»^-- « ^^^^^^^ ^^^^ ^„j„^,¿ of the most popular «ubjects for dram» -he« '^ ^ ^^^ ^ „^^„, with new volees which enabled them to v-d^-» t^e p^^ ^^^^^^^,^ ^^ ^^^^^^^ risking their reputations of '¿-1-;-^ J^^^^^^l ^„„,, ,ere achieving over the T^esecondhalf of the l^th centu,. ^d ü.^-;dec^^^^^^^^^ aperiodofsocidandreligioustensionsmE^o^. .^ Renaissance testantism and Catholicism meant a menacing ms thought and prívate social relationships. 280 SONIA HERNÁNDEZ SANTANO In the last years of Elizabethan supremacy and during the whole reign of James I, the stability of the English Court began to be threatened by challenges to the existing political regime that were mining the peace of England. The mo- narch's absolute sovereignty over the nation and his/her authority to dispense laws without the consent of the House of Commons was now beginning to be questioned by the Nobiüty. The Humanist thrust allowed individual voices to emerge, if not in an oven way, as a subliminal subversión. The whole system of political authority, which for a long period of time had been paralleled by the hierarchical organization of the patriarchal system, was now beginning to shake in its foundations. -
The Private Theaters in Crisis: Strategies at Blackfriars and Paul’S, 1606–07
ABSTRACT Title of Document: THE PRIVATE THEATERS IN CRISIS: STRATEGIES AT BLACKFRIARS AND PAUL’S, 1606–07 Christopher Bryan Love, Ph.D., 2006 Directed By: Professor Theodore B. Leinwand, Department of English This study addresses the ways in which the managers and principal playwrights at second Paul’s and second Blackfriars approached opportunities in the tumultuous 1606–07 period, when the two troupes were affected by extended plague closures and threatened by the authorities because of the Blackfriars’ performance of offensive satires. I begin by demonstrating that Paul’s and Blackfriars did not neatly conform to the social and literary categories or commercial models typically employed by scholars. Instead, they were collaborative institutions that readily adapted to different circumstances and situations. Their small size, different schedules, and different economics gave them a flexibility generally unavailable to the larger, more thoroughly commercial adult companies. Each chapter explores a strategy used by the companies and their playwrights to negotiate a tumultuous theatrical market. The first chapter discusses the mercenary methods employed by the private children’s theaters. Occasionally, plays or play topics were commissioned by playgoers, and some performances at Paul’s and Blackfriars may even have been “private” in the sense of closed performances for exclusive audiences. In this context, I discuss Francis Beaumont’s The Knight of the Burning Pestle (Blackfriars, 1607), in which Beaumont uses the boorish citizens George and Nell to lay open the private theaters’ mercenary methods and emphasize sophisticated playgoers’ stake in the Blackfriars theater. The second chapter discusses the ways private-theater playwrights used intertextuality to entertain the better sort of playgoers, especially those who might buy quartos of plays. -
Play History the Metropolis
Colony of Caisto PLAY HISTORY The Metropolis INTRODUCTION Callisto is a play-by-email roleplaying game, with the twist that the players themselves determine most of the refereeing, by making statements that fall under their narrative authority. This document is the record of one of those games, set in a newly-settled iron-age Mediterranean colony. The emails on the following pages were sent by real players and turned into news posts by the moderator. You can read along and watch how the innocious details spread across the entire colony, how a misunderstanding about a draft lead to a shortage of beer, where giant carnivorous birds come from, and what happens when your philosopher uses the wrong stimulants. You can find out more about Callisto at these links: VSCA Callisto site: http://www.vsca.ca/Callisto/ Callisto Google Plus Group: https://plus.google.com/u/0/ communities/113468506996874767262 Colony of Callisto community: https://plus.google.com/u/0/ communities/101267880206923063919 Dionne Elissa: the Soldier Will Zeno: the Traveller John Mago: the Noble Thorsten Xanthippus: the General Alexander Juba: the Youth Christopher Maharbal: the Fisher Manta Massinissa: the Metalcrafter Feegle Hanno: the Hunter William Boodes: the Artesian Castor Himilco: the Carpenter Marc Gisgo: the Laborer Bob Mathos: the Philsopher Sarah Solaris: the Queen Shawn Sirom: the Blacksmith Jake Hamilcar: the SergeantBrad Salicar: the Brewer Nick Barca: the Governor Nathan Carthalo: the Farmer CONTENTS Cycle 1 14 Cycle 2 120 Cycle 3 218 Cycle 4 274 Cycle 5 348 Cycle 6 404 Cycle 7 452 Cycle 8 492 Cycle 9 542 Cycle 10 584 SENT MESSAGES PER CYCLE RECEIVED MESSAGES PER CYCLE CAST OF CHARACTERS You represent Wisdom. -
Exotic, Erotic, Heroic?
134 6 Exotic, Erotic, Heroic? Women of Carthage in Western Imagination Marta García Morcillo ‘Salammbô in her splendour was blended with Tanit, and seemed the very genius of Carthage, and its embodied soul’ Flaubert, Salammbô, ch. 15 (transl. E. Powys Mathers) Preface Dido, Sophonisba and the anonymous wife of Hasdrubal – the general who defended the city in 146 BCE – have for centuries inspired the imagination of artists and travellers searching for traces of the grandeur of Punic Carthage. When, in 1807, Chateaubriand visited Tunis and the famous Acropolis of Byrsa, he was inevitably disappointed by the desolate scenery he encountered. Carthage’s indecipherable ruins were certainly no match for the striking memories left by Hannibal and his military campaigns, but also for those left by the heroic women who embodied the spirit of the city and its tragic fate.1 A similar experience in 1862 inspired Flaubert’s most uncanny creature, the fictional Salammbô, who was about to become the epitome of fin-de-siècle feminised eroticism as moulded by Orientalism. Salammbô was the titular character of a historical novel set during the Mercenary War (240 to 238 BCE), through which Flaubert aimed to ‘resurrect Carthage’. Like the legendary and historical 135 women that preceded and succeeded her, Salammbô was affected by the character and destiny of the Punic city, but also by something dark that inhabits the depths of every human soul. In the following pages, I will discuss the afterlives of the historical, legendary and fictional women of Carthage in the modern arts. The chapter is divided into four sections that propose four types of characterisations, following a diachronic approach: the tragic, the exotic, the vanished and the resurrected woman. -
A Dictionary of Names
A Dictionary of Names Dates are 'A.o.' unless otherwise stated; they also conform to modem usage, not to the elaborate chronological scheme which Ralegh had to construct in the light of the accepted short age of the world (see entry under 'Adam'). The entries on the kings of Israel and Judah are clarified in the table given below, p. 4I5· Abel: 2nd son of Adam (q.v.) Abia: see next entry Abijah: King of Judah (see Table, p. 4I 5) Abraham (21st cent. B.c.?): Hebrew patriarch, led his family from Chaldea to Canaan, then Egypt 'Academics': adherents of Plato's philosophy Achilles: the Greek hero of the Trojan war Adam: according to tradition, the first man (estimated by Ralegh to have been created in 403 I B.c.) Adonis: beloved of Venus, killed by a boar Aelian (3rd cent. or earlier): Roman historian Aemilius Paulus: see Paulus Aemilius Aemilius, Paulus (d. I 529): Italian chronicler of French history Agar: see Hagar Agathocles: tyrant of Syracuse (3I6-304 B.c.) and king (304-289) Agathon (late 5th cent. B.c.): Athenian tragic poet Agesilaus II (445-361 B.c.): Spartan king and general Agricola, G. Julius (37-93): Roman general and statesman Ahab: King of Israel (see Table, p. 41 5), personification of wickedness Ahaz: King of Judah (see Table, p. 4I 5) Ahaziah: King of Israel (see Table, p. 41 5) Ahaziah (also Jehoahaz): King of Judah (see Table, p. 41 5) Alba: see Alva AlbiU:ovanus Pedo ( rst cent.): Roman poet Alcinous: in the Odyssey, king of the Phaeacians Alcuin (c.