Legends of Early Rome Ch 24, Pp. 635-58 Romulus And
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Umbria from the Iron Age to the Augustan Era
UMBRIA FROM THE IRON AGE TO THE AUGUSTAN ERA PhD Guy Jolyon Bradley University College London BieC ILONOIK.] ProQuest Number: 10055445 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10055445 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis compares Umbria before and after the Roman conquest in order to assess the impact of the imposition of Roman control over this area of central Italy. There are four sections specifically on Umbria and two more general chapters of introduction and conclusion. The introductory chapter examines the most important issues for the history of the Italian regions in this period and the extent to which they are relevant to Umbria, given the type of evidence that survives. The chapter focuses on the concept of state formation, and the information about it provided by evidence for urbanisation, coinage, and the creation of treaties. The second chapter looks at the archaeological and other available evidence for the history of Umbria before the Roman conquest, and maps the beginnings of the formation of the state through the growth in social complexity, urbanisation and the emergence of cult places. -
The Architecture of Marcus Vitruvius Pollio, in Ten Books
www.e-rara.ch The architecture of Marcus Vitruvius Pollio, in ten books Vitruvius London, 1826 Bibliothek Werner Oechslin Shelf Mark: A04a ; app. 851 Persistent Link: http://dx.doi.org/10.3931/e-rara-19442 Life of Vitruvius. www.e-rara.ch Die Plattform e-rara.ch macht die in Schweizer Bibliotheken vorhandenen Drucke online verfügbar. Das Spektrum reicht von Büchern über Karten bis zu illustrierten Materialien – von den Anfängen des Buchdrucks bis ins 20. Jahrhundert. e-rara.ch provides online access to rare books available in Swiss libraries. The holdings extend from books and maps to illustrated material – from the beginnings of printing to the 20th century. e-rara.ch met en ligne des reproductions numériques d’imprimés conservés dans les bibliothèques de Suisse. L’éventail va des livres aux documents iconographiques en passant par les cartes – des débuts de l’imprimerie jusqu’au 20e siècle. e-rara.ch mette a disposizione in rete le edizioni antiche conservate nelle biblioteche svizzere. La collezione comprende libri, carte geografiche e materiale illustrato che risalgono agli inizi della tipografia fino ad arrivare al XX secolo. Nutzungsbedingungen Dieses Digitalisat kann kostenfrei heruntergeladen werden. Die Lizenzierungsart und die Nutzungsbedingungen sind individuell zu jedem Dokument in den Titelinformationen angegeben. Für weitere Informationen siehe auch [Link] Terms of Use This digital copy can be downloaded free of charge. The type of licensing and the terms of use are indicated in the title information for each document individually. For further information please refer to the terms of use on [Link] Conditions d'utilisation Ce document numérique peut être téléchargé gratuitement. -
Grade 10 Literature Mini-Assessment Excerpt from Julius Caesar, Act III, Scene Ii
Grade 10 Literature Mini-Assessment Excerpt from Julius Caesar, Act III, Scene ii by William Shakespeare This grade 10 mini-assessment is based on an excerpt from Julius Caesar, Act III, Scene ii by William Shakespeare and a video of the scene. This text is considered to be worthy of students’ time to read and also meets the expectations for text complexity at grade 10. Assessments aligned to the Common Core State Standards (CCSS) will employ quality, complex texts such as this one. Questions aligned to the CCSS should be worthy of students’ time to answer and therefore do not focus on minor points of the text. Questions also may address several standards within the same question because complex texts tend to yield rich assessment questions that call for deep analysis. In this mini- assessment there are seven selected-response questions and one paper/pencil equivalent of technology enhanced items that address the Reading Standards listed below. Additionally, there is an optional writing prompt, which is aligned to both the Reading Standards for Literature and the Writing Standards. We encourage educators to give students the time that they need to read closely and write to the source. While we know that it is helpful to have students complete the mini-assessment in one class period, we encourage educators to allow additional time as necessary. Note for teachers of English Language Learners (ELLs): This assessment is designed to measure students’ ability to read and write in English. Therefore, educators will not see the level of scaffolding typically used in instructional materials to support ELLs—these would interfere with the ability to understand their mastery of these skills. -
The Temple of Roma and Augustus on the Athenian Acropolis: a Symbol of Roman Power?
The Post Hole Issue 40 The temple of Roma and Augustus on the Athenian Acropolis: A Symbol of Roman power? Nefeli Piree Iliou1 1 School of Classics, Swallowgate, Butts Wynd, St Andrews, Fife, KY16 9AL. Email: [email protected] The temple of Roma and Augustus (dated to the late 1st century BC) was the sole major architectural supplement to the 5th and 4th century building complex on the Athenian Acropolis (Spawforth 2006, 144). Despite this, the temple has rarely been discussed in scholarly writings in contrast to the vast literature dedicated to other structures on the Athenian citadel, such as the Parthenon or the Erechtheion. Those who have granted it attention have often, but not exclusively, seen it as a symbol of Romanization, a concept Figure. 1. The NE corner of the Parthenon with the temple which likely needs further rethinking of Roma and Augustus, late 1st century BC. Restored by G. (Spawforth 1997,183,192; Mattingly P. Stevens. Image courtesy of the American School of 2006, 17; Webster 2003). While the Classical Studies at Athens. (Stevens 1946, Fig. 1). building has largely been viewed as either a monument to Roman power or a skillful Athenian subornation of Augustus’ victory into Athenian past glory, it was arguably both: not simply an indication of Rommanness but a negotiation of mixed Athenian feelings (Keen 2004; Hurwit 1999, 279-280). This brief paper will investigate the extent to which the temple of Roma and Augustus on the Acropolis can be seen as a symbol of Roman power by examining its architecture and topographical context. -
Graham Jones
Ni{ i Vizantija XIV 629 Graham Jones SEEDS OF SANCTITY: CONSTANTINE’S CITY AND CIVIC HONOURING OF HIS MOTHER HELENA Of cities and citizens in the Byzantine world, Constantinople and its people stand preeminent. A recent remark that the latter ‘strove in everything to be worthy of the Mother of God, to Whom the city was dedicated by St Constantine the Great in 330’ follows a deeply embedded pious narrative in which state and church intertwine in the city’s foundation as well as its subse- quent fortunes. Sadly, it perpetuates a flawed reading of the emperor’s place in the political and religious landscape. For a more nuanced and considered view we have only to turn to Vasiliki Limberis’ masterly account of politico-religious civic transformation from the reign of Constantine to that of Justinian. In the concluding passage of Divine Heiress: The Virgin Mary and the Creation of Christianity, Limberis reaffirms that ‘Constantinople had no strong sectarian Christian tradition. Christianity was new to the city, and it was introduced at the behest of the emperor.’ Not only did the civic ceremonies of the imperial cult remain ‘an integral part of life in the city, breaking up the monotony of everyday existence’. Hecate, Athena, Demeter and Persephone, and Isis had also enjoyed strong presences in the city, some of their duties and functions merging into those of two protector deities, Tyche Constantinopolis, tutelary guardian of the city and its fortune, and Rhea, Mother of the Gods. These two continued to be ‘deeply ingrained in the religious cultural fabric of Byzantium.. -
Rome. the Etymological Origins
ROME.THE ETYMOLOGICAL ORIGINS Enrique Cabrejas — Director Linguistic Studies, Regen Palmer (Barcelona, Spain) E-mail: [email protected] The name of Rome was always a great mystery. Through this taxonomic study of Greek and Latin language, Enrique Cabrejas gives us the keys and unpublished answers to understand the etymology of the name. For thousands of years never came to suspect, including about the founder Romulus the reasons for the name and of his brother Remus, plus the unknown place name of the Lazio of the Italian peninsula which housed the foundation of ancient Rome. Keywords: Rome, Romulus, Remus, Tiber, Lazio, Italy, Rhea Silvia, Numitor, Amulio, Titus Tatius, Aeneas, Apollo, Aphrodite, Venus, Quirites, Romans, Sabines, Latins, Ἕλενος, Greeks, Etruscans, Iberians, fortuitus casus, vis maior, force majeure, rape of the Sabine, Luperca, Capitoline wolf, Palladium, Pallas, Vesta, Troy, Plutarch, Virgil, Herodotus, Enrique Cabrejas, etymology, taxonomy, Latin, Greek, ancient history , philosophy of language, acronyms, phrases, grammar, spelling, epigraphy, epistemology. Introduction There are names that highlight by their size or their amazing story. And from Rome we know his name, also history but what is the meaning? The name of Rome was always a great mystery. There are numerous and various hypotheses on the origin, list them again would not add any value to this document. My purpose is to reveal the true and not add more conjectures. Then I’ll convey an epistemology that has been unprecedented for thousands of years. So this theory of knowledge is an argument that I could perfectly support empirically. Let me take that Rome was founded as a popular legend tells by the brothers Romulus and Remus, suckled by a she-wolf, and according to other traditions by Romulus on 21 April 753 B.C. -
Ovid, Fasti 1.63-294 (Translated By, and Adapted Notes From, A
Ovid, Fasti 1.63-294 (translated by, and adapted notes from, A. S. Kline) [Latin text; 8 CE] Book I: January 1: Kalends See how Janus1 appears first in my song To announce a happy year for you, Germanicus.2 Two-headed Janus, source of the silently gliding year, The only god who is able to see behind him, Be favourable to the leaders, whose labours win Peace for the fertile earth, peace for the seas: Be favourable to the senate and Roman people, And with a nod unbar the shining temples. A prosperous day dawns: favour our thoughts and speech! Let auspicious words be said on this auspicious day. Let our ears be free of lawsuits then, and banish Mad disputes now: you, malicious tongues, cease wagging! See how the air shines with fragrant fire, And Cilician3 grains crackle on lit hearths! The flame beats brightly on the temple’s gold, And spreads a flickering light on the shrine’s roof. Spotless garments make their way to Tarpeian Heights,4 And the crowd wear the colours of the festival: Now the new rods and axes lead, new purple glows, And the distinctive ivory chair feels fresh weight. Heifers that grazed the grass on Faliscan plains,5 Unbroken to the yoke, bow their necks to the axe. When Jupiter watches the whole world from his hill, Everything that he sees belongs to Rome. Hail, day of joy, and return forever, happier still, Worthy to be cherished by a race that rules the world. But two-formed Janus what god shall I say you are, Since Greece has no divinity to compare with you? Tell me the reason, too, why you alone of all the gods Look both at what’s behind you and what’s in front. -
Working out Minerva: Narrative Formulation of Religious Divinity in Ovid’S Metamorphoses
Working Out Minerva: Narrative Formulation of Religious Divinity in Ovid’s Metamorphoses Scholarship on the Arachne narrative in book 6 of Ovid’s Metamorphoses focuses on the meta-poetic or meta-political implications of the two tapestries. Barbara Pavlock (2009), for example, suggests that one can identify Ovid’s poetic persona within Arachne’s weavings. Ellen Oliensis (2004) suggests that the competition between Arachne and Minerva represents a contest between Ovid and the Augustan regime. This paper will examine the link between Minerva’s religious affiliation to weaving and crafting, and Ovid’s narrative structure of the Metamorphoses. For this presentation, I will argue that the organization of Minerva’s tapestry reflects the narrative organization of other stories in the Metamorphoses where Minerva’s divinity is mentioned. Ovid was well aware of Minerva’s association with weaving and crafts—in the Fasti he refers to “the goddess of a thousand crafts” (3.833), a loose translation of the title of Athena Ergane who received cult worship from craftsmen and weavers alike at a shrine located on the Athenian acropolis (cf. Mikalson 2005). I will argue that Ovid’s ekphrasis of Minerva’s tapestry in Metamorphoses reflects her divine status as the goddess of crafting. In contrast to Arachne’s tapestry, Ovid frames Minerva’s work in a pattern which William Anderson (1972: 162) calls a “perfectly centered, balanced, and framed” formulation. Ovid begins the ekphrasis with the description of the tapestry’s centerpiece. The ekphrasis starts with the twelve Olympians being present during the certamen between Minerva and Neptune (6.72-72). -
The Punishment of Tarpeia and Its Possible Iconographic Inspiration*
2017 ACTA UNIVERSITATIS CAROLINAE PAG. 43–55 PHILOLOGICA 2 / GRAECOLATINA PRAGENSIA THE PUNISHMENT OF TARPEIA AND ITS POSSIBLE ICONOGRAPHIC INSPIRATION* LENKA VACINOVÁ ABSTRACT The motif of the Punishment of Tarpeia is surprisingly rare in Roman visual arts. However, the surviving examples show iconographical unity and imply their common primary visual source of inspiration. The article is exploring the possible models considering the less obvious iconograph- ical similarities and resemblances in terms of content found in the Greek art. The cases of the infamous intriguer Dirce and traitor Dolon are dis- cussed, as well as the remarkable resemblances found on some images of the Death of Caeneus. While the latter indicates the inspiration based on free associations and the similar circumstances of death of the both protagonists, Dolon and Dirce seem to influence the creator of the icono- graphic scheme of the Punishment of Tarpeia in a more straight way. Keywords: iconography; Tarpeia; betrayal; punishment; exposure; nudity Roman art is abundant in the iconographic paradigms borrowed from Greek visual arts, as well as in scenes with no such close and apparent parallels. The story of Tarpeia ’ s treachery and her punishment seems to belong to the latter group. The tragic tale of a girl who, enchanted by the golden bracelets of the enemy, betrays Rome to the Sabine king Titus Tatius under the promise of “what the Sabines wear on their left hands” and who instead meets her fate under a pile of their shields (which the Sabines unfortunately also carry on their left arms), is dealt with both by Greek and Latin authors in a quite different versions.1 On the contrary, the scarcely preserved depictions of Tarpeia seem to share almost the same iconographic scheme. -
A Long Time Ago, There Was a King Named Numitor Who Ruled an Ancient City in Italy Called Alba Longa
A long time ago, there was a king named Numitor who ruled an ancient city in Italy called Alba Longa. Numitor had a younger brother named Amulius who one day overthrew Numitor and took over Alba Longa. However, Amulius did not want to cause any conflict, so he killed Numitor’s male heirs and forced Numitor’s only daughter, Rhea Silvia, to become a Vestal Virgin, so she could not marry or have children. Amulius was worried that Rhea would have a son who would eventually overthrow him. However, Rhea Silvia fell in love with Mars, the Roman God of War and they had twin sons. Rhea Silvia had betrayed her vows of being a Vestal Virgin, and the penalty was usually death. However, Amulius feared the wrath of Mars and did not want to kill Rhea Silvia. Instead, King Amulius imprisoned Rhea Silvia and ordered a servant to put the twins in the River Tiber. Amulius reasoned that if the twins were to die from the elements, the city would be saved from the angry god. When the servant reached the river bank with the twins, he could not throw them in. He looked down at the babies sitting together in the basket, their tiny arms wrapped around one another and he thought about his own young sons. Instead, he placed their basket into the river and let the current carry the basket, in hope that someone would see the twins and rescue them. Eventually, a compassionate she-wolf came across the basket in the river and pulled the babies out to safety. -
Chapter Five: Cupid and Psyche
Chapter Five: Cupid and Psyche (from Mythology for Today Hamilton’s Mythology) 1. Venus becomes jealous because Psyche’s surpassing beauty has transfixed all the mortals, so that they forget Venus, and neglect her temples and altars. 2. Venus plans to have her son, Cupid, shoot Psyche with a love arrow, so that Psyche will fall in love with a hideous creature. Venus’ plan fails because Cupid himself falls in love with the beautiful Psyche. 3. Psyche’s father believes that he must leave her on the summit to be claimed by her serpent‐husband, for this is what he has been told by the Oracle of Apollo. However, the truth is that Cupid has arranged this himself, so that he can carry Psyche away as his own bride. 4. Her sisters become jealous of Psyche’s superior riches and treasures. 5. Psyche is torn between her love for and her faith in her husband, and the doubt and fear her sisters cause her to feel. She is unable to live with the uncertainty of not knowing the truth. 6. When Psyche sees that her husband is a beautiful youth, she feels too ashamed of her suspicion that she is about to plunge the knife intended for him into her own breast. However, her hand trembles and the knife falls. This faltering saves her own life, but also causes her to drip some lamp oil on Cupid, who sees that she has betrayed him and runs away. 7. Psyche is made to separate by kind a huge mixed mass of tiny grains; ants separate them for her. -
Saevae Memorem Iunonis Ob Iram Juno, Veii, and Augustus
Acta Ant. Hung. 55, 2015, 167–178 DOI: 10.1556/068.2015.55.1–4.12 PATRICIA A. JOHNSTON SAEVAE MEMOREM IUNONIS OB IRAM JUNO, VEII, AND AUGUSTUS Arma virumque cano, Troiae qui primus ab oris Italiam, fato profugus, Laviniaque venit litora, multum ille et terris iactatus et alto vi superum saevae memorem Iunonis ob iram. Aen. I 1–4 Summary: A driving force in Vergil’s Aeneid is the hostility of Juno to the Trojans as they approach, and finally arrive in Italy. The epic in some ways mirrors the opposition encountered by Augustus as the new ruler of Rome. Juno’s opposition to the Trojans has its origin not only in Greek mythology, but in the his- tory of the local peoples of Italy with whom early Romans had to contend. From the outset of the poem she becomes the personification of these opposing forces. Once the Trojans finally reach mainland Italy, she sets in motion a long war, although the one depicted in the Aeneid was not as long as the real wars Ro- mans waged with the Latin League and with the many of the tribes of Italy, including the Veii. The reality of the wars Rome had to contend with are here compared to the relatively brief one depicted in the Aeneid, and the pacification of Juno reflects the merging of the different peoples of Rome with their subjugator. Key words: Juno, saeva, MARS acrostic, Etruscan Uni, evocatio, Veii, Fidenae, Aventinus, Gabii, Prae- neste, Tibur, Tanit, Saturnia, Apollo, Cumae and Hera, asylum, Athena, Aeneas, Anchises’ prophecy An important part of Augustan Myth is found in Vergil’s depiction of Juno, who is named in the opening lines of the epic and is a persistent presence throughout the poem.