This dissertation, a translation and commentary on Jerome's continuation of Eusebius' Chronicon, makes this work available in English for the first time (in Chapter 2). The Introduction (Chapter 1) and Commentary (Chapter 3) will provide the student of the fourth century A.D. with references to the chief primary sources and secondary literature for the following: the nature of the Chronicon and Jerome's authorship, Jerome's interests and his sources, and finally, the persons and events listed in the Chronicon's notices. / Jerome's Chronicon is important in several ways. It is the earliest preserved Christian history in Latin; it is an aid for the establishment of the chronology of the fourth century A.D.; it provides some data found in no other extant sources; and finally, it is one of the means by which the Chronicon of Eusebius has been preserved. / The bibliography is divided into "Ancient Works" and "Modern Works." Appendix A reproduces R. Helm's text for the "continuation" portion of Jerome's work. Appendix B lists the subjects treated in the work with the pertinent notices and their precise topics; this appendix should thus enable the student to refer quickly and easily to all of the material relevant to a given subject. Appendix C points to suggested uses of his sources by Jerome and also lists his apparent original contributions. / Source: Dissertation Abstracts International, Volume: 52-04, Section: A, page: 1305. / Major Professor: David Levenson. / Thesis (Ph.D.)--The Florida State University, 1991.

Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2007. / Title from dissertation home page (viewed Sept. 25, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0602. Adviser: Eleanor W. Leach.

The process of grammaticalization is the transition from a less "grammatical" state to one that is more so. But the results of the process, if we follow the history of any given linguistic unit as it undergoes grammaticalization over and over again, may involve achieving a state similar to one that was in effect at an earlier stage of its history. The phenomenon explored in this dissertation is the grammaticalization of pronouns into copulas and copulas into pronouns. A crosslinguistic examination of copulas in ten languages, Chinese, English, Finnish, French, Hebrew, Hungarian, Korean, Russian, Turkish, and Vietnamese, reveals the following functional tendencies: (1) one morpheme is used for possession and existence, and (2) another is used for identity and class membership. It is from these equative copulas in (2) that third person pronouns are developed, and it is from third person subject pronouns that we get newly formed copulas. The following instances of grammaticalization of pronoun and copula are demonstrated here: (1) Chinese--pronoun to copula (2) Hebrew (Biblical to Modern)--pronoun to copula (3) Finnish--pronoun to copula (4) Turkish--copula to pronoun (5) Hebrew (pre-proto-Semitic to Biblical)--copula to pronoun The Hebrew example, combining (2) and (5) above, provides us with a full cycle, from copula to pronoun to copula. At each step, the unit becomes more bleached and conventionalized. Starting from a form of a stative verb with marking for conjugation, gender, number and person, it becomes a demonstrative pronoun, marked only for person, gender and number, and then is transformed once more to a copula, marked only for number and gender, but not person. Pronouns and copulas are equally abstract, but at each stage of the change from one to the other we have seen an example of generalization and conventionalization. While grammaticalization progresses along a unidirectional cline from concrete to abstract, the history of a particular linguistic unit may reveal that it has travelled the the same semantic path more than once.

I created a comprehensive analytic concordance of the first two books of the Man'yousyuu, an Old Japanese anthology of poetry. In addition, I transcribed all 234 poems in the corpus using a transcription system which faithfully and consistently indicates consonant and vowel distinctions reflected in the orthography, and likewise shows where these are not so reflected. The poems were also translated into English. Using the concordance as a database of linguistic forms, I wrote a short grammatical sketch of Old Japanese, including discussions of historical phonology, inflection, and syntax, and furthermore, I briefly explored a few selected topics of relevance to Old Japanese textual study, including discussions of clause types, genitive constructions, emphatic particles, and tense and aspect suffixes. A primary goal of the project was the creation of a good introductory primer to some of the earliest Old Japanese poetry encountered in the Man'yousyuu.

Thesis (Ph.D.)--The University of Texas at Austin, 2006. / (UMI)AAI3266946. Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 2017. Adviser: Thomas G. Palaima.

Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2005. / Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0163. Adviser: Eleanor W. Leach. "Title from dissertation home page (viewed Dec. 12, 2006)."

Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2005. / Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2905. Adviser: Eleanor W. Leach. Title from dissertation home page (viewed Oct. 5, 2006).

The topic of divine kingship in Mesopotamia, and in the Ur III period (ca. 2112-2004 B.C.E.) in particular, has been the subject of studies focused on aspects such as its ideology, rhetoric, political motivation, and place in the history of religion. This dissertation is concerned with more pragmatic aspects of the phenomenon, and investigates what, if any, effect the institution of divine kingship had on day-to-day life. The Ur III period was selected both because four of its five kings were deified during their lifetime, and over 95,000 administrative, i.e. non-ideologically oriented, records dating to this period are available for analysis. The main focus of this thesis is on cult, the essential signifier of divinity in that society, and, specifically, on the manner in which the cult of the deified king was established, extended, and popularized. The primary source utilized was the Base de Datos de Textos Neo-Sumerios (BDTNS). The first chapter demonstrates that at the center of the cult of the deified king were effigies that underwent numerous ritual treatments and were housed in both their own and in other deities' temples, and that in these respects the king's cult was identical to those of the traditional gods. A list of the individual statues and their locations is provided, in chronological order of attestation. Areas where ramifications of the king's godhood might be identified outside of cult are also addressed. The chapter is bracketed by discussions of divine kingship in the immediately preceding (Sargonic) and following (Isin-Larsa) periods, for comparative purposes. The second chapter provides evidence that processions of cult statues by boat and chariot, and offering before them at specific festivals and sites outside of temples were relatively common events. As cult images of the deified kings were among those so treated, it is clear that the Ur III kings saw the benefit of these practices, with their concomitant festivities, banquets and entertainment, for publicizing their own cult among the largely illiterate populace. In addition, I analyzed the movements and activities of the king himself, as recorded in the administrative archives. These show that the kings were frequently in the public eye as they traveled, mainly by boat, among the cities of southern Babylonia, to ritual events both in- and outside of temple settings. The third chapter addresses the issue of the effect of the concerted efforts to publicize the king's cult on the population at large. settling on onomastics as the best proxy for determining the public's reaction available. Two hundred and sixty-seven individual names in which the name of the deified king was used as a theophoric element are identified, with Šulgi, the second Ur III king and the first of that dynasty to be deified during during his life, the most popular honorée by far. I examine the statements that the holders of these names are making about a particular divine king, and show that virtually all such names have a counterpart incorporating the name of a traditional deity. I also provide a representative sampling of the people who were given or had adopted such names in terms of their sex, ethnicity, and job title or function in order to determine if this practice was limited to a particular demographic, and conclude that it was widespread, affecting all levels of society. From this I deduce that the deliberate efforts of the kings to popularize their cult may be termed successful. An appendix contains two tables summarizing the onomastic material. Table A lists all of the names in which the king's was incorporated as the theophoric element, along with their translation. Table B provides the data that was used to differentiate among the individual persons who bore one of the names listed in Table A. / Near Eastern Languages and Civilizations

This thesis seeks to understand the portrayals of animal sacrifice in the Old Comedy of classical Greece, a genre commonly considered for vulgarity, personal invective, and roots far removed from sacred acts. Recognizing that even fictional representations of sacrifice are based on real religious ritual, and that Old Comedy had a responsibility to present to the polis a reflection of its own attitudes and behaviors, comic sacrifice scenes become a valuable mode of insight on a culture that we struggle to understand through limited evidence. Approaching the plays with this in mind uncovers a richer and more complex relationship between comedy and sacrifice than might initially be expected. Before being able to appreciate the meaning of sacrifice scenes in the plays, the first step is to establish a relationship between comedy and ritual. This study considers a progression of ideas around the identity of Greek drama, beginning with Aristotle’s Poetics and moving through the centuries as scholars identify the likely formative influences of comedy. After establishing comedy as a valid participant in the religious discourse of classical Athens, this study considers a progression of theories about the religious forces behind animal sacrifice as well as how the Greeks incorporated and expressed those forces. From Mircea Eliade’s concept of the sacred to Walter Burkert’s use of sacrifice to peer into the Greek psyche, we come to understand the interplay of ritual and performance as a culture communicates its own beliefs and attitudes. Among the extant comedies of Aristophanes, Frogs, Peace, and Birds receive major focus for their provocative use of sacrifice and related ritual behavior. Encounters with ritual practices move the protagonists toward their end goals, and control over animal sacrifice is an indicator of each character’s power. Sacrifice in each of these cases is presented not as a reverent act but a tool to be manipulated to achieve human aims. Aristophanes is using comedy’s unique license to express a more practical understanding of the human benefits of sacrifice and to demonstrate the shifting attitudes of the polis, away from reliance on traditional models and toward a preference for human action.

This work explores how the tragic poets, by means of snake imagery, convey the notion of disease. Moreover, it examines how snake imagery contributes to the process of healing through the emotion of fear that it triggers. My analysis of the tragedies in which the three main tragedians employ snake imagery builds upon findings from ancient authors that refer to snakes and their characteristics, and upon the findings of contemporary scholars. My overall method relies on tools from structuralism and psycholinguistics. Through snake imagery the tragic poets portray disease as it manifests itself through arrogance, deception, physical pain, and madness. For this purpose the poets employ images inspired by the particular anatomy and behavior of the snake. Within the context of tragedy, and through the fear that it triggers, the snake imagery encourages self-knowledge and healing through self-correction.