Lunar References in Virgil's Aeneid
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L'opera Italiana Nei Territori Boemi Durante Il
L’OPERA ITALIANA NEI TERRITORI BOEMI DURANTE IL SETTECENTO V. 1-18_Vstupy.indd 2 25.8.20 12:46 Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento a cura di Milada Jonášová e Tomislav Volek ACADEMIA Praga 2020 1-18_Vstupy.indd 3 25.8.20 12:46 Il libro è stato sostenuto con un finanziamento dell’Accademia delle Scienze della Repubblica Ceca. Il convegno «Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento» è stato sostenuto dall’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca con un finanziamento nell’ambito del programma «Collaborazione tra le Regioni e gli Istituti dell’Accademia delle Scienze della Repubblica Ceca » per l’anno 2019. Altra importante donazione ha ricevuto l’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca da Johann Adolf Hasse-Gesellschaft a Bergedorf e.V. Prossimo volume della collana: L’opera italiana – tra l’originale e il pasticcio In copertina: Pietro Metastasio, Il Demofoonte, atto II, scena 9 „Vieni, mia vita, vieni, sei salva“, Herissant, vol. 1, Paris 1780. In antiporta: Il Demofoonte, atto II, scena 5 „Il ferro, il fuoco“, in: Opere di Pietro Metastasio, Pietro Antonio Novelli (disegnatore), Pellegrino De Col (incisore), vol. 4, Venezia: Antonio Zatta, 1781. Recensori: Prof. Dr. Lorenzo Bianconi Prof. Dr. Jürgen Maehder Traduzione della prefazione: Kamila Hálová Traduzione dei saggi di Tomislav Volek e di Milada Jonášová: Ivan Dramlitsch -
Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation. -
Two Operatic Seasons of Brothers Mingotti in Ljubljana
Prejeto / received: 30. 11. 2012. Odobreno / accepted: 19. 12. 2012. tWo OPERATIC SEASONS oF BROTHERS MINGOTTI IN LJUBLJANA METODA KOKOLE Znanstvenoraziskovalni center SAZU, Ljubljana Izvleček: Brata Angelo in Pietro Mingotti, ki sta Abstract: The brothers Angelo and Pietro med 1736 in 1746 imela stalno gledališko posto- Mingotti between 1736 and 1746 based in Graz janko v Gradcu, sta v tem času priredila tudi dve organised during this period also two operatic operni sezoni v Ljubljani, in sicer v letih 1740 seasons in Ljubljana, one in 1740 and the other in 1742. Dve resni operi (Artaserse in Rosmira) in 1742. Two serious operas (Artaserse and s komičnimi intermezzi (Pimpinone e Vespetta) Rosmira) with comic intermezzi (Pimpinone e je leta 1740 pripravil Angelo Mingotti, dve leti Vespetta) were produced in 1740 by Angelo Min- zatem, tik pred svojim odhodom iz Gradca na gotti. Two years later, just before leaving Graz sever, pa je Pietro Mingotti priredil nadaljnji for the engagements in the North, Pietro Mingotti dve resni operi, in sicer Didone abbandonata in brought another two operas to Ljubljana, Didone Il Demetrio. Prvo je nato leta 1744 priredil tudi v abbandonata and Il Demetrio. The former was Hamburgu, kjer je pelo nekaj že znanih pevcev, ki performed also in 1744 in Hamburg with some so izvajali iz starejše partiture, morda tiste, ki jo of the same singers who apparently used mostly je impresarij preizkusil že v Gradcu in Ljubljani. an earlier score, possibly first checked out in Primerjalna analiza ljubljanskih predstav vseka- Graz and Ljubljana. The comparative analysis kor potrjuje dejstvo, da so bile te opera pretežno of productions in Ljubljana confirms that these lepljenke, čeprav Pietrova Didone abbandonata operas were mostly pasticcios. -
Furthest Voices in Virgil's Dido I
FURTHEST VOICES IN VIRGIL’S DIDO I ‘We have to stop somewhere, but we also have to face the fact that any par- ticular stopping-place is therefore our choice, and carries with it ideological implications.’ Don Fowler 1 ‘Magnus est Maro’. I. L. La Cerda 2 Part one Reading Dido – in the Aeneid and beyond – has always been an intensely charged literary and political game. A sensitive, loving woman, Dido offers Aeneas a real alternative to the complex business of setting Rome in motion, and her death shows the enormous price there is to pay in terms of human fulfilment and happiness for the sake of empire building. How more or less sympathetic and straightforward she is seen to be is of course crucial to our perception of Aeneas as epic hero, and to the meaning of the Aeneid as a whole. It is only natural that throughout the 20th century, and into the 21st, critics have over- whelmingly packaged this fascinating character as the archetypical ‘other voice’ to the poem’s teleological (not to say ‘Augustan’) plot. 1 D. P. FOWLER 1997: 25 = 2000: 127-128. 2 LA CERDA: vol. 1, p. 441. Furthest Voices in Virgil’s Dido 61 This comfortable opposition rests to a significant extent on a one- sided reading of Dido’s emotional intricacies. Already ancient poets and readers, from Ovid to the Christians, vigorously edited Virgil’s Dido to produce their own challenge to his epic. Building upon Heinze’s influ- ential treatment, modern critics have favoured a comparable approach: current readings emphasize the image of a loving and forlorn heroine whose short outbursts of rage and fury are evanescent – and justified. -
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. -
AENEID UNABRIDGED VIRGIL Read by David Collins
––––THE–––– POETRY AENEID UNABRIDGED VIRGIL Read by David Collins The masterpiece of Rome’s greatest poet, Virgil’s Aeneid has inspired generations of readers and holds a central place in Western literature. The epic tells the story of a group of refugees from the ruined city of Troy, whose attempts to reach a promised land in the West are continually frustrated by the hostile goddess Juno. Finally reaching Italy, their leader Aeneas is forced to fi ght a bitter war against the natives to establish the foundations from which Rome is destined to rise. This magnifi cent poem, in the modern translation by Cecil Day-Lewis, is superbly read by David Collins. David Collins started his audio career by winning the BBC’s coveted Carleton Hobbs Award. Since then he has featured in many BBC Radio 4 plays and documentaries, short stories such as Out of the Burning House by Marina Warner, and poetry on Poetry Total running time: 13:01:31 • 10 CDs Please and Time for Verse. For Naxos AudioBooks he has read The View our catalogue online at Spanish Bride. n-ab.com/cat = Downloads (M4B chapters or MP3 fi les) = CDs (disc–track) 1 1-1 Book I 7:51 28 3-6 Distraught, she witlessly wandered about… 7:47 2 1-2 Even as he cried out thus, a howling gust… 6:49 29 3-7 Whereupon the Trojans redoubled… 8:18 3 1-3 Aeneas, where he stood, snatched up… 6:25 30 3-8 So Dido spoke, and fell silent… 6:50 4 1-4 Here for three hundred years shall rule… 7:45 31 3-9 And now was Aurora, leaving the saffron… 5:09 5 1-5 I am true-hearted Aeneas… 7:32 32 3-10 Then, after eyeing -
1996 Njcl Certamen Round A1 (Revised)
1996 NJCL CERTAMEN ROUND A1 (REVISED) 1. Who immortalized the wife of Quintus Caecilius Metellus as Lesbia in his poetry? (GAIUS VALERIUS) CATULLUS What was probably the real name of Lesbia? CLODIA What orator fiercely attacked Clodia in his Pro Caelio? (MARCUS TULLIUS) CICERO 2. According to Hesiod, who was the first born of Cronus and Rhea? HESTIA Who was the second born? DEMETER Who was the fifth born? POSEIDON 3. Name the twin brothers who fought in their mother's womb. PROETUS & ACRISIUS Whom did Proetus marry? ANTIA (ANTEIA) (STHENEBOEA) With what hero did Antia fall in love? BELLEROPHON 4. Give the comparative and superlative forms of mult§ PLâRS, PLâRIM¦ ...of prÇ. PRIOR, PR¦MUS ...of hebes. HEBETIOR, HEBETISSIMUS 5. LegÇ means “I collect.” What does lectitÇ mean? (I) COLLECT OFTEN, EAGERLY Sitis means “thirst.” What does the verb sitiÇ mean? (I) AM THIRSTY / THIRST CantÇ means “I sing.” What does cantillÇ mean? (I) CHIRP, WARBLE, HUM, SING LOW 6. Differentiate in meaning between p~vÇ and paveÇ. P}VÆ -- PEACOCK PAVEÆ -- (I) FEAR, TREMBLE Differentiate in meaning between cavÇ and caveÇ. CAVÆ -- I HOLLOW OUT CAVEÆ -- I TAKE HEED, BEWARE Differentiate in meaning between modo (must pronounce with short “o”) and madeÇ. MODO -- ONLY, MERELY, BUT, JUST, IMMEDIATELY, PROVIDED THAT MADEÆ -- I AM WET, DRUNK Page 1 -- A1 7. What two words combine to form the Latin verb malÇ? MAGIS & VOLÆ What does malÇ mean? PREFER M~la is a contracted form of maxilla. What is a m~la? CHEEK, JAW 8. Which of the emperors of AD 193 executed the assassins of Commodus? DIDIUS JULIANUS How had Julianus gained imperial power? BOUGHT THE THRONE AT AN AUCTION (HELD BY THE PRAETORIANS) Whom had the Praetorians murdered after his reign of 87 days? PERTINAX 9. -
The Wolf in Virgil Lee Fratantuono
The Wolf in Virgil Lee Fratantuono To cite this version: Lee Fratantuono. The Wolf in Virgil. Revue des études anciennes, Revue des études anciennes, Université Bordeaux Montaigne, 2018, 120 (1), pp.101-120. hal-01944509 HAL Id: hal-01944509 https://hal.archives-ouvertes.fr/hal-01944509 Submitted on 23 Sep 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Copyright ISSN 0035-2004 REVUE DES ÉTUDES ANCIENNES TOME 120, 2018 N°1 SOMMAIRE ARTICLES : Milagros NAVARRO CABALLERO, María del Rosario HERNANDO SOBRINO, À l’ombre de Mommsen : retour sur la donation alimentaire de Fabia H[---]la................................................................... 3 Michele BELLOMO, La (pro)dittatura di Quinto Fabio Massimo (217 a.C.): a proposito di alcune ipotesi recenti ................................................................................................................................ 37 Massimo BLASI, La consecratio manquée de L. Cornelius Sulla Felix ......................................... 57 Sophie HULOT, César génocidaire ? Le massacre des -
SUMMER 2016 HONORS LATIN III GRADE 11: Title: Roman Blood
SUMMER 2016 HONORS LATIN III GRADE 11: Title: Roman Blood: A Novel of Ancient Rome Author: Steven Saylor Publisher: St. Martin’s Minotaur Year: 2000 ISBN: 9780312972967 You will be creating a magazine based on this novel. Be creative. Everything about your magazine should be centered around the theme of the novel. Your magazine must contain the following: Cover Table of Contents One: Crossword puzzle OR Word search OR Cryptogram At least 6 (six) news articles which may consist of character interviews, background on the time period, slave/master relationship, Roman law, etc. It is not necessary to interview Saylor. One of the following: horoscopes (relevant to the novel), cartoons (relevant to the novel), recipes (relevant to the novel), want ads (relevant to the novel), general advertisements for products/services (relevant to the novel). There must be no “white/blank” space in the magazine. It must be laid out and must look like a magazine and not just pages stapled together. This must be typed and neatly done. Due date is first day of school in August. PLEASE NOTE: You will need $25 for membership in the Classical organizations and for participation in three national exams. Due date: September 1, 2016. Thank you. SUMMER 2016 LATIN II GRADE 10: Amsco Workbook: Work on the review sections after verbs, nouns and adjectives. Complete all mastery exercises on pp. 36-39, 59-61, 64-66, 92-95, 102-104. Please be sure to study all relevant vocab in these mastery exercises. Due date is first day of school in August. PLEASE NOTE: You will need $25 for membership in the Classical organizations and for participation in three national exams. -
Between the Commemorative Games and the Descent to the Underworld
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Between the commemorative games and the descent to the Underworld in Books 5 and 6 of Vergil’s Aeneid: a study of structure and narrative technique in the transition https://eprints.bbk.ac.uk/id/eprint/40202/ Version: Full Version Citation: Powell„ David John (2017) Between the commemorative games and the descent to the Underworld in Books 5 and 6 of Vergil’s Aeneid: a study of structure and narrative technique in the transition. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Between the commemorative games and the descent to the Underworld in Books 5 and 6 of Vergil’s Aeneid: a study of structure and narrative technique in the transition Thesis submitted in September 2016 by: David John Powell awarded the degree of Master of Philosophy February 2017 Powell, D J September 2016 Declaration I hereby certify that the work presented in this thesis is my own work. …………………………………….. David John Powell ***** DEDICATIO Hunc librum dedico: et memoriae mulieris amatae Mariae et filio dilecto Antonio. Acknowledgments I wish to thank my supervisor, Professor Catharine Edwards, for her prudent suggestions throughout. Also my son, Anthony, and daughter-in-in-law, Julia, both Cambridge classics graduates, for their consistent encouragement. Any and all shortcomings are my own. 2 Powell, D J September 2016 Abstract Book 5 of Vergil’s Aeneid is known for the games commemorating the first anniversary of Anchises’ death; Book 6 for Aeneas’ visit to the Underworld. -
METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science.