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1 Gallo-Roman Relations Under the Early Empire by Ryan Walsh A
Gallo-Roman Relations under the Early Empire By Ryan Walsh A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Arts in Ancient Mediterranean Cultures Waterloo, Ontario, Canada, 2013 © Ryan Walsh 2013 1 Author's Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This paper examines the changing attitudes of Gallo-Romans from the time of Caesar's conquest in the 50s BCE to the start of Vespasian's reign in 70-71 CE and how Roman prejudice shaped those attitudes. I first examine the conflicted opinions of the Gauls in Caesar's time and how they eventually banded together against him but were defeated. Next, the activities of each Julio-Claudian emperor are examined to see how they impacted Gaul and what the Gallo-Roman response was. Throughout this period there is clear evidence of increased Romanisation amongst the Gauls and the prominence of the region is obvious in imperial policy. This changes with Nero's reign where Vindex's rebellion against the emperor highlights the prejudices still effecting Roman attitudes. This only becomes worse in the rebellion of Civilis the next year. After these revolts, the Gallo-Romans appear to retreat from imperial offices and stick to local affairs, likely as a direct response to Rome's rejection of them. -
Histoire Des Collections Numismatiques Et Des Institutions Vouées À La Numismatique
25 Histoire des collections numismatiques et des institutions vouÉes À la numismatique Igor Van den Vonder and Guido Creemers tHe COINs AND MEDALs COLLECTION oF tHe GALLO-ROMAN MUSEUM IN TONGEREN (BELGIUM) the coin and medal collection of the Gallo-roman museum in tongeren is the former coin and medal cabinet (Munt- en Penningkabinet) of the Province of limburg. it is an important collection, comprising over 30,000 coins and exonumia. the collection reflects the coins produced and in circulation in the region from antiquity to the 19th century and is unique because many were excavated locally. When the coin and medal cabinet was established in 1985, the province’s own collection consisted of the collections belonging to the royal limburg Historical and antiquarian society (Koninklijk Limburgs Geschied- en Oud- heidkundig Genootschap) and the barons Philippe de schaetzen and armand de schaetzen de schaetzenhoff. these form the core of the collection, to- gether with the collection of the former small seminary of sint-truiden, on loan from the diocese of Hasselt. With the acquisition of several private collections, the coin and medal cabinet achieved its target of 10,000 items. an active collecting policy was implemented and the collection soon doubled in size, largely thanks to gifts. Furthermore, Belgium’s royal court made over Prince charles’ personal collection to the coin and medal cabinet as a long-term loan. systematic efforts were also made to acquire the coin hoards found in the region. at the end of the last century the Province of limburg decided to fully integrate the coin and medal cabinet into the archaeological collection of the Gallo-roman museum. -
The Manipulation of Fear in Julius Caesar's" Bellum Gallicum."
THE MANIPULATION OF FEAR IN JULIUS CAESAR'S BELLUM GALLICUM by Kristin Slonsky Submitted in partial fulfillment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2008 © Copyright by Kristin Slonsky, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-43525-0 Our file Notre reference ISBN: 978-0-494-43525-0 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
Oratio Recta and Oratio Obliqua in Caesar's De Bello
VOICES OF THE ENEMY: ORATIO RECTA AND ORATIO OBLIQUA IN CAESAR’S DE BELLO GALLICO by RANDY FIELDS (Under the Direction of James C. Anderson, jr.) ABSTRACT According to his contemporaries and critics, Julius Caesar was an eminent orator. Despite the lack of any extant orations written by Caesar, however, one may gain insight into Caesar’s rhetorical ability in his highly literary commentaries, especially the De Bello Gallico. Throughout this work, Caesar employs oratio obliqua (and less frequently oratio recta) to animate his characters and give them “voices.” Moreover, the individuals to whom he most frequently assigns such vivid speeches are his opponents. By endowing his adversaries in his Commentarii with the power of speech (with exquisite rhetorical form, no less), Caesar develops consistent characterizations throughout the work. Consequently, the portrait of self-assured, unification-minded Gauls emerges. Serving as foils to Caesar’s own character, these Gauls sharpen the contrast between themselves and Caesar and therefore serve to elevate Caesar’s status in the minds of his reader. INDEX WORDS: Caesar, rhetoric, oratory, De Bello Gallico, historiography, propaganda, opponent, oratio obliqua, oratio recta VOICES OF THE ENEMY: ORATIO RECTA AND ORATIO OBLIQUA IN CAESAR’S DE BELLO GALLICO by RANDY FIELDS B.S., Vanderbilt University, 1992 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Randy Fields All Rights Reserved VOICES OF THE ENEMY: ORATIO RECTA AND ORATIO OBLIQUA IN CAESAR’S DE BELLO GALLICO by RANDY FIELDS Major Professor: James C. -
Writing and Conquest in Caesar's Gaul Author(S): Josiah Osgood Source: Classical Antiquity , Vol
The Pen and the Sword: Writing and Conquest in Caesar's Gaul Author(s): Josiah Osgood Source: Classical Antiquity , Vol. 28, No. 2 (October 2009), pp. 328-358 Published by: University of California Press Stable URL: https://www.jstor.org/stable/10.1525/ca.2009.28.2.328 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Classical Antiquity This content downloaded from 128.95.104.109 on Thu, 14 Jan 2021 18:26:48 UTC All use subject to https://about.jstor.org/terms JOSIAH OSGOOD The Pen and the Sword: Writing and Conquest in Caesar’s Gaul Julius Caesar was remembered in later times for the unprecedented scale of his military activity. He was also remembered for writing copiously while on campaign. Focusing on the period of Rome’s war with Gaul (58–50 bce), this paper argues that the two activities were interrelated: writing helped to facilitate the Roman conquest of the Gallic peoples. It allowed Caesar to send messages within his own theater of operations, sometimes with distinctive advantages; it helped him stay in touch with Rome, from where he obtained ever more resources; and it helped him, in his Gallic War above all, to turn the story of his scattered campaigns into a coherent narrative of the subjection of a vast territory henceforward to be called “Gaul.” The place of epistolography in late Republican politics receives new analysis in the paper, with detailed discussion of the evidence of Cicero. -
Oil for the Wheels in Teaching Caesar: Yesterday and Today1
Teaching Classical Languages Volume 7, Issue 1 Sellers 49 Oil for the Wheels in Teaching Caesar: Yesterday and Today1 Ryan G. Sellers Memphis University School ABSTRACT This article examines some ways of enlivening Caesar’s De bello Gallico in the classroom. It begins by considering the pedagogical methods of Mary E. Harwood, a Latin teacher in the early 1900s. Since Ms. Harwood’s students often found Cae- sar to be a boring, irrelevant text, she developed some creative teaching methods to lessen her own sense of frustration and to help her students better understand, visualize, and appreciate the text. The author argues that even though some of Ms. Harwood’s early twentieth-century strategies would not necessarily work in twenty-first-century Advanced Placement classrooms, her general philosophy of teaching Caesar is still quite germane. In addition to considering Ms. Harwood’s suggestions for teaching Caesar, the article also offers some examples of how the author approaches the challenges of teaching Caesar in his own AP class, in par- ticular by drawing upon popular culture and current events. KEYWORDS Advanced Placement, Caesar, De bello Gallico, pedagogy, film If you were to think about the Latin teachers of the early 1900s, you would probably imagine rigid grammarians and stern taskmasters who resisted any sort of progress and innovation. After all, this was some seventy years before the develop- ment of textbooks like Cambridge and Ecce Romani—books that take a kinder, gentler approach to Latin—and by today’s standards, these early twentieth-century teachers covered an astonishing amount of material: all basic Latin grammar in the first year, Caesar in the second year, Cicero in year three, and Vergil in year four. -
Untitled) 1961, That Spewed Shaving Cream, Grand Central Moderns Gallery, NYC
Critical Mass Happenings Fluxus Performance Intermedia and Rutgers University 1958-1972 By: Geoffrey Hendricks ISBN: 0813533031 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 Critical Mass: Some Reflections M O R D E C A I - M A R K M A C L O W Icons of my childhood were the piles of red-bound copies of An Anthology that my father, Jackson Mac Low, received for having edited and published it. Despite his repeated declarations that he was not a part of George Maciunas's self-declared movement, my father's involve- ment in the first Fluxus book left him irrevocably tangled in it. I myself seem to have been influenced by my father's experimental, algorithmic approach to poetry, and ended up a computational astrophysicist, studying how stars form out of the chaotic, turbulent interstellar gas. I think there was some hope that with this background I might explain the true, or correct, meaning of the term "critical mass." Unfortunately, as a scientist, I have no special access to truth, and correctness depends entirely on con- text. Let me explain this a bit before discussing the term "critical mass" itself. Science is often taught as if it consisted of a series of true facts, strung together with a narrative of how these facts were discovered. The actual practice of sci- ence, however, requires the assumption that nothing is guaranteed to be true except as, and only so far as, it can be confirmed by empirical evidence. -
The Jewish Museum Presents George Segal's Monumental
The Jewish Museum Presents George Segal’s Monumental Sculpture Abraham and Isaac Sculpture Made as a Memorial to the Tragic Events at Kent State University in 1970 Personas: George Segal’s Abraham and Isaac July 19, 2019-October 2020 New York, NY, June 24, 2019—The Jewish Museum presents Personas: George Segal’s Abraham and Isaac, an installation of the life-sized plaster sculpture by American artist George Segal (American, 1924–2000), being shown at the Museum for the first time. The artist adapted the biblical story of Abraham, who was commanded to sacrifice his son Isaac as proof of his obedience and faith in God, as an allegory for the 1970 tragedy at Kent State University in Ohio. During the incident, National Guardsmen, who were ordered to control an escalated anti-Vietnam protest, shot and killed four students, wounding nine others. The exhibition will be on view from July 19, 2019 through October 2020. In addition to the sculpture Abraham and Isaac (In Memory of May 4, 1970, Kent State University) (1978), the exhibition will include the iconic photograph taken by then Kent State photo journalism student John Paul Filo (American, b. 1948) of Mary Ann Vecchio grieving over the body of college student Jeffrey Glenn Miller, as well as the Newsweek cover from May 18, 1970 that used the same photograph. An excerpt from the Michael Blackwood film, George Segal (1978), where the artist talks about the sculpture while he was working on it, will also be shown. George Segal is best known for his haunting, direct-cast, life-sized, figurative sculptures. -
The Encrypted Object: the Secret World of Sixties Sculpture
Title Page The Encrypted Object: The Secret World of Sixties Sculpture Joanne Louise Applin University College London PhD nL ABSTRACT This thesis examines the work of artists Lucas Samaras,Lee Bontecou and HC Westermann, specifically the way in which they have been excluded from dominant accounts of 1960s sculptural practice. I explore the ways in which a theory of 'secrecy' provides a framework through which to think about each of these artists. Chapter one focuses on Samaras's use of small-scale boxes in relation to his dialogue with the Minimal cubic structure, whilst the second chapter examines the structures of Bontecou in terms of their 'secrecy'. Working from welded steel armatures, Bontecou developed a unique practice of stretching dirty, worn skeins of fabric over the metal structure, always with a gaping hole backed with black felt, a disturbing void (MA around which the surface is organised and the spectatorial encounter disturbed. Unlike the voracious mode of looking Bontecou's works engender, or the partial, fragmented 'peering' offered by Samaras's boxes, Westermann's works require a type of looking that has more in common with the physical act of 'drifting'. I cast both the viewing experience and the mode of construction Westermann's works demand, in terms of 'bricolage' and 'braconnage' (or 'poaching). The concluding chapter analyses the role of the artistic homage and notion of influence, taking as model the work of psychoanalysts Nicolas Abraham and Maria Torok on haunting and secrecy in relation to the work of Westermann alongside that of Bruce Nauman and Rachel Whiteread. In chapter four I introduce the idea of the 'phantom, as a way of thinking through the problems of inheritance at work in the artistic homage in terms of a series of ruptures, using Abraham and Toroks' concept of the 'transgenerational phantom', in which familial secretsare unwittingly inherited by one's ancestors. -
Verklaring Van De Naam Tungelroy
Verklaring van de naam Tungelroy Uit het archief van Deken Willem Moonen (1886-1976) 1. De Romeinen veroveren onze streken tussen de jaren 62 tot 57 voor Christus onder aanvoering van Julius Caesar. Niet alleen deze streek, maar geheel Galië, dat wil zeggen Frankrijk, België, Nederland en Duitsland tot aan de Rijn. Kort daarna trok Caesar met zijn leger naar Rome terug, waar hij triomfantelijk werd ingehuldigd. Maar 4 jaar later in 53 voor Christus, stonden enige volken slimmer op tegen de Romeinen: de Eburonen met hun vorst Ambiorix, de Bataven en de Tungri, die zich aaneesloten onder hun opperbevelhebber Ambiorix. Nu kwam Ceasar met een groot leger uit Rome terug en versloeg de opstandelingen totaal. stanndbeeld van Ambiorix in Tongeren De overlevenden vluchtten naar alle landen. Ambiorix met zijn soldaten over de Rijn, de Bataven naar de Betuwe, de Uliërs naar Zuid-Limburg met name naar Ubachsberg en Ubach over Worms (Ubach is van Uliërs), de Tungri naar Waterschei. Wat dit laatste betreft vind ik een bewijs van wat ik in ’t vervolg zal nog zal zeggen in de nu nog bestaande dorpsnamen: Tongerlo (bij Kinrooi), Tongerlo (bij Diest) Tungelroij (bij Weert) en Tongelre (bij Eindhoven). Zoiets komt nog in België, noch in Nederland of elders voor. 2. De Waterschei Paralel met de Maas ligt ten Noorden van Tongeren een hoge heuvelrug, die loopt tot bij Eindhoven. Die heuvelrug heet Waterschei. Deze was ten tijde van de vlucht van de Tungri begroeid met bossen en ondoordringbaar kreupelhout. Daarom woonde er geen mens. Wel was het een eldorado voor klein en groot wild, zoals hazen, konijnen, herten, vossen, wolven en zelfs beren (denk aan Beersel). -
Allan Kaprow and the Spread of Painting
Spread fromAllan Kaprow’s Assemblage, Environments and Happenings, 1966. Photograph on left: Hans Namuth. Photograph on right: Ken Heyman/ Meridian Photographics. 80 Framed Space: Allan Kaprow and the Spread of Painting WILLIAM KAIZEN As modernism gets older, context becomes content. In a peculiar reversal, the object introduced into the gallery “frames” the gallery and its laws. 1 —Brian O’Doherty A pair of images begins this brief history of the overlap between paint- ing and architecture in America after world war II, of the period when painting spread beyond its frame toward what Allan Kaprow called environments and happenings and toward installation art today. It is a two-page layout from his book Assemblage, Environments and Happenings, with one image on either page. Published in 1966, the book had been in the works since as early as 1959 when Kaprow wrote the first version of the eponymously titled essay that would become its centerpiece. 2 Just before the written essay is a long sequence of pho- tographs, a sort of photo-essay, titled “Step Right In,” consisting of a series of large black-and-white pictures with text interspersed. The title refers to Jackson Pollock and his comment that he works “in” his paintings.3 It shows a variety of work by artists from the 1950s and early 1960s, such as Robert Rauschenberg, Yayoi Kusama, Robert Whitman, and Kaprow himself, all of whom, Kaprow thought, extended Pollock’s legacy into three dimensions. By creating postpainterly installations that one necessarily stepped into, their work had come off the walls and expanded to ll the space of the gallery and beyond. -
Exmlbbtilon CATALOGS Mly Intergdactic Propomom
Competition-and is Iamcbd smard on an henme of EXMlBBTilON CATALOGS mly intergdactic propomom. Thecharactersin ~s tale are amazingly inventive with the Eldest One, Miusid Bre&ng Typ: The Art of BKBLrlj =&en (Sm Fmcisco, l[nquisitor, the Breather, the Sticbn, the Skot, the Sm Francisco Center for the Bwk, 1999, $15 sofacover, $25 Buttofisher, adProdmen, mong others. You wiil of UC Berkeley to love Sprmfor his creativity and for the great compe who bas revived a he enters, which will probably change your idea abutRock Bong-lost ~llsnoprinttecfique develoM by muguirn at the concerts. For Sprocc and his band combine the Ancient turn of the century. This technique combines the immediacy traditions with the new wave iraspihaaion to make songs such of a drawing with the texture of a monoprinc giving it a as the Worst Bmd in the Universe, Let's Go!(Back to the unique accessibility and a&ptabili@. Big Bang), Planetfall, 90 Light-years from the Sun, and The ex"nibition of &ten's book produdon as well as his W.Y.S.I.W.Y.G. all recorded on the CD forthis intermedial printm&ng was shown both at the Center for the Book and experience. In act, the has been "sonically the California Heritage Gallery in San Francisco. Curated translated for consumptio ed We Pbms. These by Swan Lanhpler, Chief Cmtor ofthe San Jose Museum 48 pages in full color de@ . It takes you to Blipp and the Center's founding curator, the exhibition's catalog and G and lots of new places in a totally cosmic ha.64 pages, many four-color plates and duotones, as well musical adventure! as an in&duction by Robert Flynn Johnson, curator of the Ackenbach Founhtion.