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Dylan Kelby Rogers

explored the spectacle and pleasure of fountains from the Renaissance to the modern period. 242 The work of Rogers examines Roman water-displays in terms of how the canonical five senses can effect and affect an ancient Roman’s experience with a structure, regardless of context or location throughout the

Series:

Edited by Christopher Tuplin and Fiona Hobden

Xenophon’s personal history was exceptional for its combination of Socratic education and the exercise of military leadership in a time of crisis. His writings provide an intellectually and morally consistent response to his times and to the issue of ethical but effective leadership, and they play a special role in defining our sense of the post-Athenian-Empire Greek world. Recent Xenophontic scholarship has established the general truth of these claims. The current volume will not only reinforce them but also contribute to greater understanding of a voice that is neither simply ironic nor simply ingenuous and of a view of the world that is informed by an engagement with history.

Pierre Destrée

Interpreters generally take Aristotle to have totally downplayed the role of the spectacle, and since music is part of the spectacle, it is implied (although rarely explicitly stated) that he must also have considered music as a negligible detail not really worth considering when writing the

Vox Naturae

Music as Human-Animal Communication in the Context of Animal Training in Ancient Rome

Rodney Martin Cross

that performed in a spectacle orchestrated by Germanicus. Both the role of music and the training practices recorded in this case study differ fundamentally from the first, which offers an important point of contrast and adds depth to the investigation of auditory cues in a training context. This study

Chaniotis, A., Corsten, T., Papazarkadas, N. and Tybout, R.A.

⇐ PreviousBrowse ⇑Next ⇒, Entry, Bibliography, ChristesenP.KyleD.G.A Companion to Sport and Spectacle in Greek and Roman AntiquityMalden, MA201310.1002/9781118609965, DagronG.FeisselD.Inscriptions de CilicieParis1987, MerkelbachR.StauberJ.Jenseits des Euphrat. Griechische Inschriften. Ein

Barclay, John M.G.

λόγον εἰπεῖν παρ’ ἐκείνοις παραβιασθεῖεν.I myself think that some of our conquerors have applied this to those in their power3 not out of hatred but because they wanted to see, as an amazing spectacle,4 if there were any people who believed that the only evil they faced was to be forced either to do

Mason, Steve

Seminar—took time from her heavy teaching load to help with preparation of materials. A thoroughly trained classicist who teaches Greek across the genres, with special interests in drama and spectacle, Nora undertook to prepare a quick and rough translation of most of Book 2 from that perspective. Whereas

Mason, Steve

attested elsewhere before or contemporary with Josephus). Ant. 20.136 mentions no separate torture, but being dragged about the city as a spectacle before beheading.13Ant. 20.136 spells out the point of this dragging around: Celer was to be “seen by all” in his pre-execution humiliation.14“In this way

Feldman, Louis H.

hatred by any, they gave this up and began to marvel at the decision of God concerning them, amazed at the unexpectedness of the spectacle;8 and thereafter assenting with a shout of applause to what had been decreed by God, they yielded to Aaron, to hold the priesthood justifiably.9 God having elected