Thesis--University of Pennsylvania. / Bibliography: p. ix-xii.

This dissertation applies the principles of fiscal dissertation to the study of the Roman Republic. I argue that the creation of a profitable empire allowed the ruling elite to end their reliance on domestic taxation to fund state activity, and that Rome's untaxed citizens were effectively disenfranchised as a result. They therefore lacked the bargaining power to prevent aristocrats from enriching themselves at the expense of the state. The result was a set of leading individuals whose resources could overwhelm those of communal, public institutions. This wealth allowed them to control the distribution of economic resources within Roman society, reinforcing hierarchies and forcing less fortunate citizens to tie themselves to patronage networks instead of state institutions. This state, unable to command the respect of its constituents, was eventually picked off in the competition between great individuals.

The Iliad in certain key passages construes the Olympian gods as an internal epic audience offering and exploring multiple configurations of audience response to the poem. Chapter 1 explores the special features of the divine audience in general terms and considers previous scholarship. Chapter 2 reads Zeus' provocation of Hera and Athena in Book 4 as a "metaperformative" provocation of the poet's audience. Chapters 3 argues that the audience's mental "viewing" experience is construed as attendance at a live spectacle where the gods also attend, a spectacle for which the duel in Book 3 provides a paradigm. Chapter 4 interprets the duel in Book 7 as a reevaluation of that paradigm, motivated intratextually by the internal audience of Apollo and Athena. Chapter 5 shows that the climactic duel in Book 22, and especially the passage describing Hector and Achilles circling Troy as the gods watch and discuss, problematizes the ethical stance of the extratextual audience. Chapter 6 argues that in the Iliad as a whole the poet uses "the gods" to model a shift in audience sympathy from pro-Achaean bias to pity for the Trojans.

This dissertation analyzes Socratic ethics in three Platonic dialogues: the Protagoras, the Gorgias, and the Republic. The purpose is twofold: 1) to question the standard view that what is the defining characteristic of Socratic ethics in the Protagoras and the Gorgias is its intellectualism and that the Republic represents a correction to, or deviation from, such intellectualism, and 2) to offer an alternative account of Socratic ethics in these dialogues. The alternative account this dissertation proposes is that what makes Socrates a compelling ethical figure is his unique understanding of what constitutes an agent's self-interest. Moreover, the contention will be that the uniqueness of Socrates' ethical views comes into focus when we consider them vis-à-vis the views and concerns of his interlocutors, particularly the sophists.

This dissertation analyzes the three main protagonists of Lucan's Bellum Civile through their attempts to utilize, resist, or match a pattern of action which I call the "formula." Most evident in Caesar, the formula is a cycle of alternating states of energy that allows him to gain a decisive edge over his opponents by granting him the ability of perpetual regeneration. However, a similar dynamic is also found in rivers, which thus prove to be formidable adversaries of Caesar in their own right. Although neither Pompey nor Cato is able to draw on the Caesarian formula successfully, Lucan eventually associates them with the river-derived variant, thus granting them a measure of resistance (if only in the non-physical realm). By tracing the development of the formula throughout the epic, the dissertation provides a deeper understanding of the importance of natural forces in Lucan's poem as well as the presence of an underlying drive that unites its fractured world.

Despite the long-recognized connection between poverty and charity, and the scholarly attention paid to the culture of charity, there have been very few studies that have yielded the kind of quantitative results that would enable scholars of antiquity to assess the sources and impact of church wealth gained from non-elites. I ask three questions: (1) Who was asked to give? (2) Who could afford to give? (3) Who did, in fact, give? Three bodies of evidence offer answers: (1) The the patristic corpus suggests targets of solicitation as well as a rhetorical strategy for encouraging donation, (2) household economic models give a sense of how potential donors could generate disposable in- come through ascetic practice, and (3) a selection of small donations, specifically Christian small silvers, can be valued in a way that permits conjecture regarding the social profile of donors in late antiquity. Pursuing charity in this way offers the opportunity to get past ecclesiastical self- representation and gaps in evidence by looking at the underlying structures of the phenomenon. This in turn promises a clearer idea of the relationship between charity and philanthropy, placing church institutions back in their social context.

Multiple natural philosophers in antiquity proposed that nature possessed considerable technical skill. Yet, the specific conceptual implications of this assertion were quite different in fourth century BCE Athens--with its pots, bronze tools and cisterns--than in second century CE Rome--where large-scale aqueducts, elaborate water machines and extensive glassworks were commonplace. This dissertation assesses the impact that these different technological environments had on philosophical and scientific theories. In short, it argues that contemporary technologies shaped ancient philosophers' physical assumptions by providing cognitive tools with which to understand natural phenomena. As a result, as technologies evolved--even in relatively modest ways--so too did conceptual models of the natural world. To explore these assertions, this dissertation focuses on two main fields of explanation, the vascular system and vision, and includes investigations of such technologies as pipes, pumps, mirrors, wax tablets, diagrams and experimental apparatuses. It demonstrates the ways in which scientific theorists use the specific material technologies around them as heuristics to conceptualize physical processes.

In Athens in the early 5th century BCE, a new genre of funerary vase, the white-ground lêkythos, appeared and quickly grew to be the most popular grave gift for nearly a century. These particular vases, along with their relatively delicate style of painting, ushered in a new funerary scene par excellence, which highlighted the sorrow of the living and the merits of the deceased by focusing on personal moments of grief in the presence of a grave. Earlier Attic funerary imagery tended to focus on crowded prothesis scenes where mourners announced their grief and honored the dead through exaggerated, violent and frenzied gestures. The scenes on white-ground lêkythoi accomplished the same ends through new means, namely by focusing on individual mourners and the emotional ways that mourners privately nourished the deceased and their memory. Such scenes combine ritual activity (i.e. dedicating gifts, decorating the grave, pouring libations) with emotional expressions of sadness, which make them more vivid and relatable. The nuances in the characteristics of the mourners indicate a new interest in adding an individual touch to the expression, which might “speak” to a particular moment or variety of sadness that might relate to a potential consumer. To facilitate a meaningful discussion of the range of ways that white-ground painters articulated grief and lament in their vases, the dissertation is divided into six chapters, each of which concentrates on a particular type of mourner: women, men, elderly men, infants, vocal visitors and the deceased. Discussing the visual iconography across these different groups demonstrates that the shared and individual, public and private, intentional and candid aspects of grief and mourning can be shown simultaneously and that it was of interest to the Athenians to look at images that incorporated all of these aspects.

Thesis (D. LITT.)--University of London.

Thesis (D. LITT.)--University of London.