<p>In the Introduction it is shown that, although the Commentariolum purports to have been written in early 64 B.C. by Quintus Cicero, it is more llkely that the author was a writer of historical character writing (prosopopoiia) from the first century A.D..</p> <p>This is not a critical edition: the text used is departed from only in sections nine and twenty eight, and then not radically.</p> <p>The Commentary is intended to make reference to the Commenariolum as simple as possible: it tells the reader what the text probably means, if necessary, and if its evidence is supported or contradicted.</p> <p>The only radical departure from conventional interpretation is in part of chapter ten.</p> / Master of Arts (MA)

<p>This thesis examines those Greek tragedies dealing with the legend of the house of Laius and attempts to discover the adaptability of the hero to religious, social and political themes and also to delineate the persistent (and peculiar) images of each play.</p> / Master of Arts (MA)

<p>Based on a reading of the Epistulae, the De Natura Deorum, the De Re Publica and the De Legibus, this study formulates an hypothesis, In the light of the equilibrium theory of tragedy, concerning Cicero's political and philosophical position. It is contended that in his experience of the tragic -- in terms of the conflicts with which his age confronted him, the response which his nature and training led him to make to these conflicts, and the suffering which he endured as a result of that response -- he acquired an awareness of the ultimate questions of tragedy and a perception peculiar to the tragic experience.</p> / Master of Arts (MA)

<p>From a survey of evidence from the seventh century B.C. to the seventh century A.D. it is contended that Roman education was divided into technical training for the lower-classes in the <em>ludus litterarius</em>, and liberal teaching for the upper-classes which Was regarded as beginning with the <em>grammaticus</em>.</p> / Master of Arts (MA)

<p>This work is an attempt to determine, in some preliminary fashion at least, the extent to which Aeschylus made use of the same words that a prose author writing at about the same time would have employed. The Oresteia trilogy alone is considered, due to the shortness of the time available. The usage of those authors of Greek prose previous to the fourth century B.C. (and, to some extent, those previous to the third century as well) is used as a criterion of "prosaicness". A trial is made at correlating prosaicness of vocabulary with character and type of speech, the t-ratio being employed as a statistical test; certain other points are also discussed.</p> / Master of Arts (MA)

<p>Heroes were prominent fixtures of both town and country. Their cult was moreover both civic and funerary in nature, being celebrated in public, and being centered around the hero's bones. However, this state of affairs led to an anomaly in light ofthe c.700BC Greek ban on intramural burial: the remains of the hero should not have been suitable to remain in the city. There has been some recognition of this contradiction (by Morris, Antonaccio, etc.) but no fuller treatment. This thesis will examine intramural hero cult through the lens of this anomaly, which will hopefully shed additional light on: the hero's status (as either dead or alive, mortal or immortal etc.); his place in the city and cosmos of the Greeks; his relationship to his worshipper and to the broader Greek polis (as both physical city and socio-cultural system). Chapter One presents the primary archaeological evidence, plotting the relationship between graves and settlement from SM to the Classical period. Chapter Two then examines nature of the hero and his cult, as seen in myth and in archaeological evidence. Chapter Three then synthesizes the first two, discussing (useful) pollution, the hero's powers and their connection to bones and to the Greek polis. In the end, this thesis will argue that the original anomaly-the acceptance of intramural hero cult in defiance of cathartic laws after c.700BC-was a crucial aspect of intramural hero cult, and indicative of the hero cult's wider role in the Greek polis. In transferring the symbolism of familial grave cult to public hero cult, citizens of the polis effected a link between the private sphere of the family and the public sphere of civic life through a language of pseudo-kinship which was instrumental in building imagined links between unrelated citizens.</p> / Master of Arts (MA)

<p>This thesis examines Ovid's treatment of the Erysichthon narrative at Metamorphoses 8.738-878. It is a specific narratological commentary which, in particular, examines the intertextual relationship between Ovid's Erysichthon narrative and that of Callimachus in his Hymn to Demeter. Chapter One provides a general overview of the passage by reviewing other accounts of the myth, considering the placement of the narrative within Book Eight of the Metamorphoses, and finally, by exploring the role of the narrator and the structure of the narrative. Chapters Two, Three and Four provide detailed literary criticism of Ovid's work. These chapters comprise a specific narratological commentary on Erysichthon's crime, the reaction of others to his behavior, and his punishment.</p> / Master of Arts (MA)

<p>At the end of the 5^th century Be, the social contract between the mass and elite in Athens broke down, resulting in two oligarchies in the span of a decade. Despite this, the strength of the ideology of democracy, in contrast to the weakness of oligarchic ideology, ultimately resulted in the restoration of democracy. This study investigates the question of how this restoration and reconciliation came about, looking at the speeches of the late 5^th and early 4^th centuries as artifacts of this process. The study focuses on the sequence of events between 415 and 399 and the social and ideological dynamics that lay behind them, examining stresses in and the rupturing of the democratic social contract, yet its ultimate strength. Particular attention is paid the unprecedented amnesty of 403. The role of democratic ideology in the process of reconciliation following the restoration of democracy in 403 is central to understanding the relationship of mass and elite in this period of stress. A remarkable resilience existed on the part of democratic ideology, which held in all levels of Athenian society, and the principles of this ideology brought all the citizens of Athens together in a collective dedicated to reconciliation and restoration, which allowed them to overcome the tensions which the oligarchies had created.</p> / Master of Arts (MA)

<p>The goal of this study was to examine the fresco decoration from tombs in the area of the Roman Near East and Asia Minor in relation to the material found in the domestic sphere to reveal any iconographical relations between the two spheres. An examination of both spheres revealed a considerable connection. While fresco decoration in tombs was chosen to be appropriate for its surroundings, it is clear that most of the motifs were shared with the domestic sphere.</p> <p>The first pattern to emerge from the painted tombs in the Near East and Asia Minor was the commemoration of the deceased in way of portraits and scenes recalling favourite pastimes. The use of painted portraits in tombs were used in much the same way as wax masks and shield-portraits placed in the atria of affluent homes were used, to commemorate and essentially create an important ancestor to be honoured by the family. Allusions to banqueting in the form of servants and scattered flowers, and other luxuries of life including gardens were also popular motifs in the tombs. In addition to recalling activities and settings from an affluent household, these two motifs also appear as decoration on home walls. Finally, mythological scenes used in the tombs were usually picked for their chthonic associations and rarely appeared in homes. The use of chthonic myths in the tombs was appropriate with their messages of victory over death and the inevitably of fate. Likewise, tales of bodily desecration portrayed the punishments inflicted on those who unjustly treated a family member.</p> / Master of Arts (MA)

<p>This thesis examines imperial representations of clementia from the time of Augustus to Marcus Aurelius. Since there is, to my knowledge, no study devoted exclusively to the examination of clemency's appearance in the material culture, it is meant to round out the study of the virtue's place in the Roman world by examining its depiction on the imperial monuments. With each consideration of a clemency scene, the thesis has three aims. 1) To set up the socio-political and historical context of the era and how the scene is reflective of or in response to that. 2) To examine the iconography in detail and to compare and contrast the scene to earlier or contemporary representations of clemency. 3) To consider the intent behind the production of the scene and intended viewer reaction. The study finds that an emperor used clemency to strengthen his position and to gain support from the people and the elite. It was also an opportunity to show the superiority and might of Rome, while depicting the enemy as defeated and begging for mercy. Moreover, the study reveals that the basic components of a clemency scene remain the same, but that the mood changes from calm and peaceful to more chaotic and violent with each emperor. Finally, the study shows that the clementia scene was meant exclusively for a Roman audience, evidenced by its absence on monuments outside of Rome. The viewer was intended to take away messages of Roman superiority, the inferiority of the barbarians, and of an emperor who was an able ruler and a capable military commander. Therefore, not only does this thesis round out the study of clemency's place in the Roman world, it also contributes to our understanding of the ways in which imperial monuments reflect the ideas and attitudes of the emperors.</p> / Master of Arts (MA)