Zugl.: Berlin, Humboldt-Univ., Diss., 2006

Inaug.-Diss.--Königsberg. / Vita.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 397-416). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 397-416). Also available on the Internet.

In this paper I sought to determine whether or not Hannibal Barca had a grand strategy to deal with the Romans during the Second Punic War. If Hannibal did have a strategy, I would try to determine what his strategy was and if it was actually feasible. I approached this question by looking into the background leading up to the Second Punic War, the primary sources explanation of Hannibal’s strategy during the Second Punic War, the logistical feasibility of the plan, and Hannibal’s movements throughout Italy during the war. In conclusion I decided that Hannibal did have a Grand strategy and that it was to alienate the Italian allied city-states from Rome in order to gain the logistical supplies and manpower to bring down Rome. In the end the reason that Hannibal lost the second Punic War is because he misunderstood the relationship that existed between the allied Italian states and Rome. This question is important because it sheds new light on the relations between Rome and its allied states. It also brings new questions to the foreground to try and explain what exactly was the relationship between Rome and its allies during this period.

Programm--K.K. Ober-Gymnasium der Franciscaner zu Hall, 1877-78. / Includes bibliographical references (p. 27-30).

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-05-07T13:11:48Z No. of bitstreams: 1 Vanessa Ramos Furtado da Silva_.pdf: 9773216 bytes, checksum: 81c29054fccdaaf668635fbbc2f034e3 (MD5) / Made available in DSpace on 2018-05-07T13:11:48Z (GMT). No. of bitstreams: 1 Vanessa Ramos Furtado da Silva_.pdf: 9773216 bytes, checksum: 81c29054fccdaaf668635fbbc2f034e3 (MD5) Previous issue date: 2018-03-20 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este estudo tem por objetivo analisar a construção da narrativa seriada Hannibal, que traz a história do personagem já conhecido da literatura e do cinema ainda em ação – antes de ser preso. Partimos de conceitos tanto relacionados à construção de narrativa quanto à construção cinematográfica para entendermos a complexidade processual como um todo. Para tal, fomos passando por aspectos que vão desde o processo criativo com Brett Martin, questões narrativas com Mittell e de gêneros com Carroll, Wood e Todorov. Compreendendo, também, a forma do crime trocado utilizado por Hitchcock a partir de Chabrol e Rhomer e Truffaut, da qual a série se apropria, bem como pela forma sinestésica do cinema com Eisenstein, Deleuze e Aumont, até o estilo utilizado no período do expressionismo alemão, com Lotte Eisner e Kracauer, que deixou alguma herança nesse objeto. Somente após todo esse aporte pudemos dissecar e desmembrar Hannibal, identificando como se compuseram seus arcos e cenários, como funcionaram suas inspirações e propósitos. Para isso, dividimos a análise em três vias de dissecação: dos crimes aleatórios e suas construções estéticas visuais e cinematográficas; da narrativa e a análise dos arcos que culminam em um crime trocado; e a via da análise do Hannibal design, em que analisamos como a série constrói sua metodologia assassina durante os episódios, de forma desconexa e cuidadosa. Desse modo, fazendo uma analogia à própria série e sua temática investigativa, nós seguimos as evidências e pontas soltas da forma com que a obra se apresenta, de modo a descobrir quais foram os seus passos – esse é o nosso método. / This study aims to analyze the construction of the serial narrative Hannibal, which brings the story of the already known character of literature and movie still in action - before being arrested. We start from concepts related to narrative construction and to the cinematographic construction in order to understand procedural complexity as a whole. For that, we have gone through aspects ranging from the creative process with Brett Martin, narrative issues with Mittell and genres with Carroll, Wood and Todorov. Understanding also the form of the exchanged crime used by Hitchcock from Chabrol and Rhomer and Truffaut from which the series appropriates, as well as by the synesthetic form of cinema with Eisenstein, Deleuze and Aumont, to the style used in the period of German expressionism with Lotte Eisner and Kracauer that left some inheritance in this object. Only after all this contribution we were able to dissect and dismember Hannibal, identifying how his arcs and scenarios were composed, how his inspirations and purposes worked. For this, we divided the analysis into three dissecting avenues: random crimes and their aesthetic visual and cinematographic constructions; of the narrative and the analysis of the arcs that culminate in a changed crime; and the life of the analysis of Hannibal design, in which we analyze how the series constructs its killer methodology during the series, in a disconnected and careful way. In this way, by analogy with the series itself and its investigative theme, we follow the evidence and loose ends of the visceral way in which the series presents itself in order to discover its steps - this is our design.

Les guerres puniques ont longtemps été présentées comme la victoire de la civilisation contre la barbarie étant donné que les seules sources à en parler étaient romaines. En ce qui concerne la religion des Carthaginois, les Romains et les Grecs avant eux s'en sont fait une image plutôt négative. Les principaux traits retenus à propos de la religion des Puniques sont leur dévouement acharné à des rites sanguinaires (immolation massive d'enfants en bas âge) et à l'impudique Astarté, pratiques religieuses jugées barbares et scandaleuses. S'ajoutent aux manifestations lugubres de la piété punique un total manquement à la parole donnée et un irrespect sans précédent des serments et traités de guerre, connus communément à Rome sous l'appellation passée en proverbe : punica fides qui s'oppose à la fides, notion éminemment romaine. Toutefois les Grecs et les Romains ont bien dû, à maintes reprises, reconnaître que les Carthaginois pouvaient avoir des pratiques cultuelles tout à fait comparables aux leurs (prières, sacrifices, présents, fondation de sanctuaires dans les pays conquis...) et faire preuve d'une piété exemplaire. Ils ont constaté, en outre, que le panthéon punique était semblable aux leurs et que les Carthaginois étaient même capables de rendre hommage aux divinités étrangères. Il s'ensuit que la perception de la religion punique dans la tradition classique est contrastée et souvent contradictoire. / For a long time, Romans and Carthaginians lived side by side, and especially, in mutual conflict. The conflicting relationships that had been knitted, in the Mediterranean, between these two outstandingly powerful nations, this dense network with shady alliances, oppositions and hostilities, shaped the image of the Punics. We will endeavour to make out the way the Romans perceived the Carthaginians as it is not possible to know how the Carthaginians regarded themselves: The latter attempt is doomed to failure regarding the lack of Punic literary sources. It is mainly the Carthaginian religion that had marked the Romains: these people were considered as thoroughly irreligious. They were, on the whole, negatively pointed at. In fact, the Punic wars were, for long time, presented as the victory of civilization over barbarity since the only sources on the matter were Roman. Regarding the Carthaginians’ religion, the Romans, and the Greeks ever before them, had conceived it in a rather negative way.

Texte remanié de: Dissertation--Humboldt-Universität zu Berlin, 2006. / Bibliogr. p. 260-299.

Undergraduate honors paper--Mount Holyoke College, 2007. Dept. of Philosophy. / Includes bibliographical references (leaf 109).