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101	AN ANALYSIS OF ROMAN MUTINY NARRATIVES THROUGH MULTIPLE PERSPECTIVES Denman, Amanda M. 10 1900 (has links) <p>This paper is concerned with the use of mutiny narratives in historical texts as a microcosm of the historians’ goal of the work as a whole. This study is built upon the recent trend in scholarship, where a particular feature of a text has been studied to provide an analysis on the author or the underlying purpose of his work. Mutinies and, more specifically, mutiny narrative patterns have not been studied to a great extent for this type of analysis. However, based upon their tradition delineation and explanation of events and their ubiquitous speeches, mutiny narratives are capable of providing a new avenue for this type of analysis. The first chapter will look at the mutiny of Scipio Africanus’ troops at Sucro in 206 B.C.E. as presented by the historians Polybius and Livy. Both attempted to organize their works upon particular moral and didactic lines, the results of which are clearly expressed in their construct of the mutiny. This intentional framework is also present in the poet Lucan’s historical epic the <em>Bellum Civile</em>, who shaped the mutiny of Caesar’s troops in 47 B.C.E. in order to express his own belief in the inherent cataclysm and paradox of civil war. Finally these same themes of chaos and contradiction are also present in my third chapter and its analysis of five mutinies found in Tacitus, two in 14 C.E. and three in 69 C.E. under Galba, Otho and Vocula. Tacitus deliberately engineered the earlier mutinies in order to create both thematic and linguistic echoes to the later seditions in order to prove that the same problems that caused the later civil war were present under the earliest emperors.</p> / Master of Arts (MA) Classical Literature and Philology Comparative Literature Military History
102	Женщины императорского дома в оценках римских историков эпохи ранней Империи : магистерская диссертация / Women from imperial family in the assessments of Roman historians of the early Empire Чувашева, А. С., Chuvasheva, A. S. January 2017 (has links) Работа представляет собой исследование проблемы формирования и эволюции образа женщины у власти, который возник в связи с проникновением женщин императорского дома в область государственного управления, которая традиционно считалась мужской. Образ «женщины у власти» - продукт римского общества периода империи: монархическая система давала женщинам императорского дома неофициальный голос и авторитет, отсюда в произведениях античных историков появляется тип женщины, рвущейся к власти. / Research suggest examination of the problem of origin and evolution of the image of the power of women and they invasion into traditionally male sector of public administration. Women in Roman Empire weren’t included in the scope of public low. They are implemented only in family. But the monarch system in Rome provided the women from imperial family unofficial voice and authority. This women staying near they powerful husbands and sons, and women from imperial family have potential political authority in Empire. Latin authors couldn’t fail to see these changes and the image “powerful women” appeared in they works. РИМСКАЯ ИМПЕРИЯ ЖЕНЩИНЫ ЛАТИНСКАЯ ЛИТЕРАТУРА ОБРАЗ ТАЦИТ СВЕТОНИЙ ВЕЛЛЕЙ ПАТЕРКУЛ ДИОН КАССИЙ ГЕРОДИАН ВЛАСТЬ ИМПЕРАТОРСКАЯ СЕМЬЯ MASTER'S THESIS ROMAN EMPIRE WOMEN LATIN LITERATURE IMAGE TACITUS SUETONIUS VELLEUS PATERCULUS DIO ERODIAN POWER IMPERIAL FAMILY
103	Luke/Acts and the end of history Crabbe, Kylie January 2016 (has links) This thesis investigates how understandings of history in diverse texts of the Graeco-Roman period illuminate Lukan eschatology. Two strands of Lukan scholarship have contributed to an enduring tendency to underestimate the centrality of eschatology to Luke/Acts. Hans Conzelmann's thesis, that Luke focused on history rather than eschatology as a response to the parousia's delay, has dominated Lukan scholarship since the mid-twentieth century, with concomitant assumptions about Luke's politics and understanding of suffering. Recent Lukan scholarship has centred instead on genre and rhetoric, examining Luke/Acts predominantly in relation to ancient texts deemed the same genre while overlooking themes (including those of an eschatological character) that these texts do not share. This thesis offers a fresh approach. It illuminates the inherent connections between Luke's understanding of history and its end, and demonstrates significant ways in which Luke's eschatological consciousness shapes key themes of his account. By extending comparisons to a wider range of texts, this study overcomes two clear methodological shortfalls in current research: limiting comparisons of key themes to texts of similar genre, and separating non-Jewish from Jewish texts. Having established the need for a new examination of Luke's eschatology in Chapter 1, in Chapter 2 I set out the study's method of comparing diverse texts on themes that cut across genres. Chapters 3 to 6 then consider each key text and Luke/Acts in relation to a different aspect of their writers' conceptions of history: the direction and shape of history; determinism and divine guidance; human culpability and freedom; and the present and the end of history. The analysis shows that in every aspect of history examined, Luke/Acts shares significant features of the texts with which, because they do not share its genre, it is not normally compared. Setting Luke/Acts in conversation with a broader range of texts highlights Luke's periodised, teleological view of history and provides a nuanced picture of Luke's understanding of divine and human agency, all of which is affected in fundamental ways by his portrayal of the present time already within the final period of history. As a result, this study not only clarifies Lukan eschatology, but reaffirms the importance of eschatology for Lukan politics and theodicy.
104	Rubens and the Stoic Baroque: Classical Stoic Ethics, Rhetoric, and Natural Philosophy in Rubens’s Style Nutting, Catherine M. 18 January 2018 (has links) Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams’ theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens’s case, these included the classical Stoic. While it would be possible to trace Rubens’s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens’s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens’s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers’ personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens’s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens’s style. / Graduate / 2023-12-14 Art History Peter Paul Rubens Baroque Baroque Painting Seventeenth-Century Antwerp Seventeenth-Century Art Style Baroque Style Stoicism Stoicism and Art Early Modern NeoStoicism Antwerp NeoStoicism Flemish NeoStoicism Seventeenth-Cenury Flemish Art Seventeenth-Cenury Flemish Painting Flemish Baroque Painting Stoicism and Style Stoic Ethics Stoic Ethical Philosophy Stoic Rhetoric Stoic Rhetorical Philosophy Stoic Physics Stoic Natural Philosophy Roger de Piles Seneca Seneca Naturales Questiones Tacitus Tacitus's Style Tacitus and Stoicism Stoic continuum Baroque unity Justus Lipsius Early Modern Library Macchia Sententiae Style and Meaning Quintilian Diogenes Laertius Epictetus Chrysippus Marcus Aurelius Early Modern Art Theory Rubens as a Theorist Antwerp Humanism Flemish Humanism Humanism in Flanders and Brabant The Self The Early Modern Self Style for Truth The Continuum Nature Alive Stoic Optimism Seventeenth-Century Stoic Optimism

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