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English poetry in particular has received both enrichment and motivation from classical sources. The case of Percy Bysshe Shelley, nineteenth century English Romantic poet, provides an excellent illustration of this point. This study will attemp to place before the reader evidence of Shelley's debt to ancient Greece as revealed in his life and his poetry, with particular emphasis upon the influences of Aeschylus and Plato.

Welche Rolle spielte der Wertbegriff Sicherheit im antiken Griechenland? Dieser bisher nicht gestellten Frage geht diese Untersuchung nach. Dafür wird die Verwendung des griechischen Begriffs aspháleia in archaischer und klassischer Zeit in sämtlichen literarischen und inschriftlichen Quellen intensiv analysiert. Es entsteht eine Begriffsgeschichte, welche die diskursiven Topoi der Verwendung des Wortes und deren Wandel erhellt. Vom Bereich der persönlichen Sicherheit über die kollektive Sicherheit der Polisgemeinschaft bis hin zur Sicherheit in interpolitischen Beziehungen zwischen Poleis wird die Frage verfolgt, ob und in welcher Form die Griechen Wert auf die aspháleia legten. Das Ergebnis verdeutlicht die Wandelbarkeit von Wertvorstellungen.:Vorwort I Inhaltsübersicht II Ausführliches Inhaltsverzeichnis III Einleitung 1 I Methodische und theoretische Vorüberlegungen 3 II Archaik – Die frühesten Belege 118 III Poseidon Asphaleios – Kultstatus für die Sicherheit in der Klassik? 134 IV Persönliche Sicherheit – die Ebene des Individuums 172 V Die kollektive Sicherheit innerhalb der Polisgemeinschaft 334 VI Kollektive ἀσφάλεια als diskursives Movens? 400 VII Der Eigennutzdiskurs – oder: Warum ἀσφάλεια keine Motivationskraft entwickeln konnte 571 Anhang 603 / What role did notions of ‚security‘ play in Acient Greece? This publication answers that question. It does so, by focussing on the Greek word aspháleia, and analyses its usage in Archaic and Classical Greece. All literary and epigraphic sources of the time are taken into account. This way a history of the idea of security enfolds, which sheds light on the prevalent discursive topoi, and how they changed during the centuries. Individual security, collective security inside the Greek poleis, and interpolitical security between them are analysed. In this course it becomes apparent, wether and in what ways the Greeks valued notions of aspháleia. The results illuminate just how much concepts of values are subject to change.:Vorwort I Inhaltsübersicht II Ausführliches Inhaltsverzeichnis III Einleitung 1 I Methodische und theoretische Vorüberlegungen 3 II Archaik – Die frühesten Belege 118 III Poseidon Asphaleios – Kultstatus für die Sicherheit in der Klassik? 134 IV Persönliche Sicherheit – die Ebene des Individuums 172 V Die kollektive Sicherheit innerhalb der Polisgemeinschaft 334 VI Kollektive ἀσφάλεια als diskursives Movens? 400 VII Der Eigennutzdiskurs – oder: Warum ἀσφάλεια keine Motivationskraft entwickeln konnte 571 Anhang 603

The purpose of this thesis project is to discuss and describe the transformation of the image of Roman Emperor through artistic representation and cultural demonstration. The ultimate goal is to determine why the presentation of the office changed so greatly. I have selected certain works of art depicting the first Roman Emperor, Gaius Octavian Caesar, best known as Augustus, and Justinianus, the greatest Roman Emperor. More than 500 years separates these two men, whose only connection, at first sight, is that both served as Roman Emperor. I will analyze each piece of art, discuss its history, determine what each piece represents and discuss the cosmetics of the Emperor in the work. Once both Emperors have been dissected artistically, I intend to answer the question of why the office of Roman Emperor changed so thoroughly over 500 years by observing cultural and world developments between the first and sixth centuries of the Common Era.

Rome's dependence upon slaves has been well established in terms of economics and general society. This paper, however, seeks to demonstrate this dependence, during the end of the Republic and the beginning of the Empire, through detailed examples of slave use in various areas of Roman life. The areas covered include agriculture, industry, domestic life, the state, entertainment, intellectual life, military, religion, and the use of female slaves. A look at manumission demonstrates Rome's growing awareness of this dependence. Through this discussion, it becomes apparent that Roman society existed during this time as it did due to slavery. Rome depended upon slavery to function and maintain its political, social, and economic stranglehold on the Mediterranean area and beyond.

The ancient Greeks are prime subjects of study for those wishing to understand the roles that religion and mythology play in a society and how the two interact with each other. This paper covers what I feel after my study of Greek mythology and religion are the eight functions of mythology: history, education, explanation - both of the natural world and the culture of each society, legality, genesis, what happens after death, and entertainment; as well as the two function of religion: civic and spiritual. In the first chapter, in order to show each of the mythological functions, I summarize and explain a myth that falls primarily into each category. The second chapter discusses and illustrates Civic Religion and the third examines the three major Mystery Religions. The goal is to offer a basic understand of some of the myths, religious beliefs, and cult practices of the ancient Greeks.

During Tina Modotti's time in Mexico in the 1920s, much of her photography and political activities focused on and fought for the rights of those who had been previously overlooked and marginalized, namely the indigenous people of Mexico. Many government officials, artists and intellectuals at the time believed that it was through the indigenous culture that Mexico could redeem itself and create its own national identity. Indigenismo, the philosophy that supported this claim, was of interest to Modotti and was a recurring theme throughout her photography. Following the Mexican Revolution of 1910, indigenismo appeared to be the solution to establishing this new identity that was authentically Mexican and distinct from the perceived corruption of Europe and North America. However, the principles of this theory were paradoxical in that proponents supported incorporating indigenous elements into Mexican society, but they also supposed that the only way to recreate the country was by dismissing and destroying these native cultures. Modotti was not as interested in advocating a rebuilding of Mexico as she was in promoting social equality among all races and groups of people in the country, similar to what international Marxism endorsed. Indigenismo to Modotti was more of a way to give voice to the marginalized indigenous people who had been forgotten politically, educationally and artistically for centuries. Through three phases of her photographic career in Mexico—her early phase (which included the Idols Behind Altars project), Mexican Folkways, and her work done in Tehuantepec-we can see how Modotti progressed as an indigenista artist. Although her audience varied in each of these three phases, Modotti's commitment to, and portrayal of, Mexico's indigenous culture was a central unifying theme in her work. This study argues that the photographs of Tina Modotti illustrate her concept of indigenismo by celebrating what she perceived as strong, egalitarian indigenous communities that appealed to her Marxist political philosophy. Modotti sought to counter previous distorted or exaggerated misconceptions of indigenous culture, and she tried to compensate for this lack of authenticity within the Mexican national identity and Mexican art through her photography.

Jorge Luis Borges's story "El Zahir" describes a moment where the protagonist finds rest from his monomania by reworking one of the central texts in Old Germanic myth, the story of Sigurd and Brynhild. The approach taken here by the protagonist is the paradigm used in this thesis for understanding Borges's own strong readings of Old Germanic literature, specifically Old Scandinavian texts. In chapter one, a brief outline of the myth of Sigurd and Brynhild, with a particular emphasis on Gram, the sword that lied between them, is provided and juxtaposed with Borges's own family history, focusing on the family's storied military past. This image of the sword as the symbol for the north and its relation to Borges's family and political interests is sustained throughout the thesis. Chapter two is a survey of the various facets of Borges's literary output that were influenced by Nordic myth and literary styles: first, literary criticism, second, poetry and prose, and third, translation. The survey shows that Borges's engagement with the north began early and was maintained throughout his life. Likewise, after working through seven works from disparate periods it becomes clear that Borges is not merely introducing the Spanish speaking world to Old Scandinavian texts, but, in the same fashion as the protagonist in "El Zahir," subsuming them in a way that is uniquely Borgesian. The third chapter follows the same approach as the survey but focuses on Borges's short stories, specifically two short stories from his collection entitled Libro de Arena: "Ulrica" and "Undr." Many of the conclusions that emerged in the survey are further validated in the analysis of these two stories, but with greater emphasis on how they relate to Borges's later years, and the themes that begin to surround his preparation for death. The concluding chapter summarizes the findings of the previous three chapters by way of a close reading of Borges's tombstone. Each aspect of the stone is connected to Old Germanic myth and how that symbolized the eventual consummation of his joy: the sword that kept him separated from love was eventually lifted, as it was for Ulrica and Javier in "Ulrica."

Cormac McCarthy's representation of the comic theories of the carnivalesque, incongruity, and absurdism by the antagonists of Blood Meridian and No Country for Old Men demonstrates the unique and ostensible power of humor over (or at least, its awareness of and reconciliation to the absurdity of) death; it also emphasizes the supreme power and influence of humor as a means for destroying other institutions and philosophies which claim knowledge or authority but fail to sustain individuals in times of crisis. This makes humor a formidable factor in determining and justifying the outcome of human interactions and in defining the strengths and limitations of McCarthy's antagonists.

This thesis is inspired by an ending—that of a cowboy hero riding away, back turned, into the setting sun. That image, possibly the most evocative and most repeated in the Western, signifies both continuing adventure and ever westward motion as well as a restless lack of final resolution. This thesis examines the ambiguous endings and the conditions leading up to them in two film Westerns of the 1950s, George Steven's Shane (1953) and John Ford's The Searchers (1956). Fascinatingly, the tension and uncertainty conveyed throughout these films is also characteristic of life in modernity, a connection which has previously gone overlooked. In my analysis, I study the ties between the postwar film Western and the philosophy of modernity to interpret these works in a new light, illuminating their generic context and their understudied philosophic dimensions. This reading highlights these films' continued relevance, showing how they have enabled creators and audiences to reflect on experiences of modernity in the idiom of the celluloid century.