No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

<p>This dissertation is a study of the use of Homeric diction in the epigrams of Posidippus of Pella. I place the poetry in the context of the aesthetic and scholarly interests of Ptolemaic Alexandria and I provide a stylistic and intertextual analysis of the use of Homer in these 3^rd century BCE epigrams. In the subgenres of amatory and sepulchral epigrams, the repetition of Homeric diction in combination with particular <i> topoi</i> and themes in the poems of Posidippus and other epigrammatists becomes a literary trope. In other cases, Posidippus incorporates more complex thematic allusion to Homer and, by doing so, displays awareness of the self-reflexive and self-annotating experience of reading poetry. The repetition of Homeric diction within sections of the Milan papyrus reinforces arguments for cohesive structure within the &lambda;&iota;&thetas;&iota;&kappa;[special characters omitted] and o&iota;&omega;&nu;o&sigma;&kappa;o&pi;&iota;&kappa;[special characters omitted] sections. What this study of Homeric diction reveals is that Posidippus&rsquo; choice of <i>topoi</i> and themes are distinguished by the way he incorporates Homeric references and thematic allusion. Other poets share his <i> topoi</i> and his themes and sometimes even his Homeric diction, but these three elements rarely match the complexity in Posidippus. The combinations are what differentiate Posidippus&rsquo; stylistic tendences from other Hellenistic epigrammatists. </p>

<p> This thesis analyzes the utility of Finite Element Analysis (FEA) in testing strength trends in <i>Type A, Ci, Dii, F,</i> and <i> G</i> swords described by the Sandars Bronze Age Aegean classification. Comparing sword composition of a variety of alloys and using three-dimensional models of each sword type, I evaluate the strength and resilience of each sword shape form in thrusting and hacking impact and shearing under a series of force intervals. The results of these tests suggest that there is performance variability between the sword types and that the sword forms generally correlate with an increase in strength over time. Furthermore, the tests suggest that the alloy and temper of the sword have a significant impact on the sword&rsquo;s strength. This indicates that a sword&rsquo;s form was based on more than mere prestige and had clear functional characteristics. Further testing on alloy and temper type use over time is necessary.</p>

The thesis comprises a text of the Querolus based on all the extant manuscripts, with an apparatus criticus and translation. The text is preceded by an introduction, and followed by a textual, linguistic, stylistic and literary commentary, a bibliography, and an index uerborum. The introduction considers: the history and interrelations of the manuscripts; previous editions and translations; author and dedicatee; place and date of composition; references to contemporary history and thought; genre, characters and plot; sources and Nachleben; and rhythmic structure. An edition and commentary of the Lex Conuiualis, which occurs in all the complete manuscripts of the Querolus, is also provided.

<p> This dissertation heeds archetypal psychologist James Hillman&rsquo;s call for depth psychology to &ldquo;also be a depth aesthetics&rdquo; by considering Dionysos as an archetype of aesthetic experience. We respond affectively to the sensations of our interpenetrating everyday world of bodies, including our imaginal and ideational perceptions. Dionysos has been studied as an archetype of intoxication, indestructible life, madness, nature, bodily excitement, eroticism, festive inclusivity, theater, and liberation. This study reevaluates these qualities and more to discover how Dionysos and multiple figures of his <i>thiasos</i> create an archetypal background for the phenomenon of aesthetic experience. While Psyche serves Aphrodite, Dionysos serves psyche and may be considered a more comprehensive archetypal figuration for aesthetic experience than the goddess of Beauty. </p><p> Notoriously epiphanic Dionysos traverses all realms, but is most beloved of the earthly between&mdash;his ecstasy turned on, sustained by, and expressed via the aesthetic dimension. For Nietzsche, the profound surfaces of this embodied life are divine, a belief echoed in the work of Hillman, David L. Miller, and the philosophies of Phenomenology, Alfred North Whitehead, and the contemporary Speculative Realists, among others. In varying ways, all suggest the aesthetic dimension <i>is</i> the causal dimension&mdash;the inspired starting condition of reverie and cognition. This study suggests reading the aesthetics of daily life as &ldquo;concrete poetry,&rdquo; a term repurposed here as a metaphor for the concentrated instant in which an entire mythos is given in the very medium of an image. The &ldquo;archetypal&rdquo; is thus not defined herein as a first principle, in the universal or originary sense, but, more simply, as any particular event that deeply and experientially impresses upon us, creating an insta-mimesis of reactivity and recreation. Detailed evidence for this study&rsquo;s broad thesis is given historically, conceptually (through philosophy, art theory, and depth psychology), mythopoeic- and mythologically, and with support from the aesthetic realm of the arts, including, in its conclusion, examples from twentieth-century artists, most primarily the Dadaists, Marcel Duchamp, and Dennis Hopper. </p><p>