scholarly journals THEQVINQVATRVSOF JUNE, MARSYAS ANDLIBERTASIN THE LATE ROMAN REPUBLIC

2018 ◽  
Vol 68 (1) ◽  
pp. 143-159 ◽  
Author(s):  
Pedro López Barja De Quiroga

Masked revelry, the quaffing of large amounts of wine and the sound of flutes … this cavalcade would pass through the streets of Rome every 13th June, even crossing the forum itself. As we will show later on, a connection can be established between this celebration (theQuinquatrus minusculae) and the statue of Marsyas, the acolyte of Dionysus, which stood in the forum and was associated with freedom, wine and charivari. In turn, this connection will open the way for a new interpretation of the multiple meanings of the feast and the satyr in the highly charged political atmosphere of Late Republican Rome. The main aim of this study will be to show, in the third part of this article, howpopularespoliticians tried to exploit the opportunities presented to them by religious festivities andludito draw more of the public into theircontionesor to obtain a favourable verdict in a political trial.

Author(s):  
Valentina Arena

Corruption was seen as a major factor in the collapse of Republican Rome, as Valentina Arena’s subsequent essay “Fighting Corruption: Political Thought and Practice in the Late Roman Republic” argues. It was in reaction to this perception of the Republic’s political fortunes that an array of legislative and institutional measures were established and continually reformed to become more effective. What this chapter shows is that, as in Greece, the public sphere was distinct from the private sphere and, importantly, it was within this distinction that the foundations of anticorruption measures lay. Moreover, it is difficult to defend the existence of a major disjuncture between moralistic discourses and legal-political institutions designed to patrol the public/private divide: both were part of the same discourse and strategy to curb corruption and improve government.


Classics ◽  
2018 ◽  
Author(s):  
Cristina Rosillo-López

Populares and optimates are two political denominations, especially used in ancient Roman politics during the 1st century bce during the Late Roman Republic (although the sources apply them sometimes to the 2nd century bce). The basis of such differentiation is Marcus Tullius Cicero (106–43 bce), Pro Sestio 96, which defined populares and optimates as two distinct political categories. Popularis (adjective, singular of the plural populares in Latin) is an ambiguous term: it could connote “pleasing to the people” or “in the interest of the people”; the term to define the opposite of the senatorial majority, a combination of a certain political strategy and a certain type of political eloquence (eloquentia popularis) or, finally, a certain political tradition. Many politicians termed populares were tribunes of the plebs and some of them died or were murdered in violent confrontations with the Senate. The term optimates, or boni (a similar term, not exactly a synonym), rarely occur in the sources. People ascribed to this group in modern scholarship are those who believed in senatorial authority and/or those supporting the interests of the wealthy. However, identification can be also problematic. Some of the main sources are Cicero, Pro Sestio 96 (takes a negative view; main locus of the confrontation optimates-populares); Sallust, Bellum Catilinae 20; Bellum Iugurthinum 31 (Memmius’s speech) and 85 (Marius’s speech); Historiae 1.55 (Lepidus’s speech) and 3.48 (Macer’s speech). Sallust’s Epistulae ad Caesarem have been considered to be both fake and authentic (latest edition Antonio Duplá, Guillermo Fatás, and Francisco Pina Polo, Rem publicam restituere: una propuesta popularis para la crisis republicana: las Epistulae ad Caesarem de Salustio [Zaragoza, Spain: Departamento de ciencias de la antigüedad Universidad de Zaragoza, 1994] considers them authentic). Best introductions in English: Zvi Yavetz, Plebs and princeps (New Brunswick, NJ: Transaction, 1988); Nicola Mackie, Popularis ideology and popular politics at Rome in the first century B. C. Rheinisches Museum für Philologie 135 (1992): 49–73; Margaret Robb, Beyond « populares » and « optimates »: political language in the late Republic (Stuttgart: Steiner, 2010); Antonio Duplá, “Consules populares,” in Consuls and res publica: holding high office in the Roman Republic, edited by Hans Beck, Antonio Duplá, Martin Jehne and Francisco Pina Polo (Cambridge, UK: Cambridge University Press, 2011), pp. 279–298; Claudia Tiersch, “Political Communication in the Late Roman Republic: Semantic Battles between Optimates and Populares?” in Institutions and Ideology in Republican Rome. Speech, Audience and Decision, edited by H. van der Blom, C. Gray and C. Steel (Cambridge, UK: Cambridge University Press, 2018), pp. 35–68.


Author(s):  
Robert Eaglestone

The knowledge of the murder of the European Jews was a public secret in the Third Reich. What is a ‘public secret’? How does it shape or reshape a society? The answers to these questions are key to understanding the Holocaust and other genocides. However, the public secret is elusive because of its nature: when it is at its most powerful, it cannot be explicitly discussed; when it no longer holds such power, people deny their knowledge of it and complicity in its concealment. Both the ‘subjective experience’ of the public secret and its wider meaning are beyond the limits of the discipline of history and are better elucidated obliquely through a work of fiction: in this case Kazuo Ishiguro’s Never Let Me Go, a novel which reflects on the past in the way historians cannot. Significantly, the public secret and the consequences of complicity are important concepts for understanding the post-Holocaust world.


2014 ◽  
Vol 104 ◽  
pp. 51-72
Author(s):  
Jennifer Ingleheart

AbstractThe paper explores the significance of names and naming in Catullus. Catullus’ use of proper names, and in particular his play on the connotations of the names of individuals who are attacked within his poems, has not been fully explored to date, and the paper identifies several examples of such play which have not previously been recognized. The paper examines Catullan wordplay in the context of both the iambic tradition and the public abuse culture of the late Roman Republic.


Revista Prumo ◽  
2020 ◽  
Vol 5 (8) ◽  
pp. 144-151
Author(s):  
Karina Martins de Souza

This paper deals with the relationship between urban residual spaces and fragmentation urbanism, through the triad: functionality, visibility and technical density. Given that the functionality and the urban visibility present in the triad are inherent to the concept of residual space, the third item — technical density — can be considered as a booster of these spaces. This study also considers the possibility of functionality, visibility and technical density being applied by the public authorities, as actions that work the residual spaces and the fragmentation urbanism. This paper does not gleam to generate assertive responses to the relationship of the triad as something positive or negative for residual spaces. Instead, it intends to open the way for the discussion about this topic in the academic and professional spheres.


2008 ◽  
Vol 44 (1) ◽  
pp. 85-99 ◽  
Author(s):  
Svanibor Pettan

The article consists of three parts. The first part presents an outline of the historical developments of applied ethnomusicology in Europe and USA, from the public sector activities of comparative musicologists in the early 20th c. all the way to the announcement of the first conference of newly-established ICTM’s study group in Ljubljana in 2008. The second part is dedicated to the issues of definition and classification of approaches. The third part features five categories of subjects (minorities, diasporas, ethnic groups, immigrants, refugees) and based on selected examples from the territories of what was Yugoslavia presents ethnomusicological interventions that exceed the obvious academic goals of broadening and deepening of scholarly knowledge. 


Horizons ◽  
2016 ◽  
Vol 43 (2) ◽  
pp. 367-373 ◽  
Author(s):  
MT Dávila

This exchange between ethicist Peter Gathje and one of the guests of Manna House of Hospitality (Memphis, Tennessee) points to the task of the public theologian. Gathje serves at Manna House, sharing meals and prayers with its guests. Through his blog Radical Hospitality he echoes and responds to the theology of the people he serves, and their deep questions about justice in our world. In this dialogical movement he enters the locations where he serves meals and prays with his “public,” who in turn ask for a justice that seems all too elusive from their vantage point. His “public,” the guests and others who pass through Manna House, are sources for theological imagination and critical questioning, shaping the way Gathje organizes his vision of the Christian story and the liberating truth it seeks to relate to the world.


JOGED ◽  
2017 ◽  
Vol 7 (1) ◽  
Author(s):  
Tri Anggoro

Rerahsa merupakan sebuah karya tari kelompok yang ditarikan tujuh orang penari putra. Tari ini merupakan penuangan ide serta kreativitas dari rangsang kinestetik dan rangsang gagasan yaitu pengalaman empiris penata yang pernah berproses dengan tuna daksa sehingga menginspirasi penata untuk mengangkat tokoh pewayangan yaitu Gareng dengan dasar gerak yaitu gerak tidak wajar (cacat) dalam dasar tari tradisi Jawa gaya Yogyakarta. Fokus karya ini lebih kepada esensigerak cacat dan lebih memainkan ekspresi. Alasan penata mengambil tokoh Gareng karena Gareng ini merupakan salah satu simbol contoh kepemimpinan yang dapat memberikan contoh baik kepada generasi penerus saat ini, karena cacat fisik bukanlah hal yang memalukan, justru dapat memotivasi hidup untuk menjadi lebih baik. Menurut penata, dari masa ke masa seorang pemimpin sudah tidak lagi memiliki watak/sifat seperti tokoh Gareng, sehingga menjadi salah satu motivasi penata untuk menggarap karya Rerahsa ini.Pada karya ini terdiri dari 3 adegan. Pada introduksi penata membicarakan Gareng sebagai abdi/pamong. Pada adegan 1 lebih fokus kepada studi gerak gareng dengan berbagai karakter, sedangkan adegan 2 membicarakan 3 poin, yaitu Gareng yang lupa akan titahnya sebagai pamong, membicarakan ketika Gareng menjadi Raja, dan imajinasi Gareng terhadap wanita pujaannya yaitu Dewi Saradewati. Pada adegan 3, penata membicarakan sosok Gareng yang kembali ke perenungan dan berintrospeksi diri.Diharapkan dengan adanya karya cipta tari ini, masyarakat dan penonton dapat mengerti dan memahami bahwa janganlah memandang orang sebelah mata, jangan melihat dari segi fisik, namun lihatlah orang dari hatinya, sebagaimana yang digambarkan oleh sosok Gareng ini.  Rerahsa is a group dance work which danced by seven male dancer. This dance is the way of pouring ideas and creativity from kinesthetic stimuli and notion stimuli, namely the idea of empirical experience by the stylist who ever proceed with the disabled so as to inspire the stylist to lift the puppet characters named Gareng, as the basic of the unnatural motion (defects) in basic Javanese traditional dance, Yogyakarta’s style. The focus of this work is the essence of defects motion and plays more expressions. The stylist takes Gareng as one of the leadership symbols that can provide a good example to the next generation nowadays, to show that a physical disability is not a shameful thing; it can motivates our life to be better. According to the stylist, a leader nowadays has no longer Gareng characteristics, thus becoming one of the stylist motivations to work on this Rerahsa work.This work consists of three scenes. In the introduction, the stylist indicates Gareng as servants / officials. Scene one is focusing on the study of Gareng’s motion with various characters, while the second scene is talking about three points. The first one is when Gareng who forgot his position as officials, the second one is when Gareng became a king, and the last one is about Gareng imagination against his female idol, goddess Saradewati. In the third scene, the stylist discusses Gareng who returns to self-reflection and introspection.Hopefully by this dance artworks, the public and the audience can see and understand to do not judge the book from the cover, do not judge someone by the physical looking, but look at their heart, as is illustrated by the figure of Gareng. 


2001 ◽  
Vol 9 (2) ◽  
pp. 201-212 ◽  
Author(s):  
JÜRGEN KOCKA

First, this paper sketches the development of labour history as a historical subdiscipline up to the 1970s and 1980s when it became a booming field, an area of great excitement and high productivity. Why this should have been the case is an interesting question to ask in hindsight. Secondly, I discuss certain trends in the last 10–15 years that are related to a decline in this field, not in terms of sophistication, but certainly with regard to the field's popularity among historians, students and the public. Dealing with this rather dramatic change might tell us something about the way my discipline – modern history with a stress on social history – works, where it gets its vitality from, its conjunctures and fashions. Thirdly, I present some personal ideas about how one could, and perhaps should, deal with the present situation, its problems and its opportunities. I am presently working on the third volume of a history of labour in 19th century Germany – a project to which I have returned after many years. Some of the general problems I have encountered in this project will also be dealt with, indirectly, in this paper.


JOGED ◽  
2017 ◽  
Vol 8 (1) ◽  
Author(s):  
Tri Anggoro

Rerahsa merupakan sebuah karya tari kelompok yang ditarikan tujuh orang penari putra. Tari ini merupakan penuangan ide serta kreativitas dari rangsang kinestetik dan rangsang gagasan yaitu pengalaman empiris penata yang pernah berproses dengan tuna daksa sehingga menginspirasi penata untuk mengangkat tokoh pewayangan yaitu Gareng dengan dasar gerak yaitu gerak tidak wajar (cacat) dalam dasar tari tradisi Jawa gaya Yogyakarta. Fokus karya ini lebih kepada esensigerak cacat dan lebih memainkan ekspresi. Alasan penata mengambil tokoh Gareng karena Gareng ini merupakan salah satu simbol contoh kepemimpinan yang dapat memberikan contoh baik kepada generasi penerus saat ini, karena cacat fisik bukanlah hal yang memalukan, justru dapat memotivasi hidup untuk menjadi lebih baik. Menurut penata, dari masa ke masa seorang pemimpin sudah tidak lagi memiliki watak/sifat seperti tokoh Gareng, sehingga menjadi salah satu motivasi penata untuk menggarap karya Rerahsa ini.Pada karya ini terdiri dari 3 adegan. Pada introduksi penata membicarakan Gareng sebagai abdi/pamong. Pada adegan 1 lebih fokus kepada studi gerak gareng dengan berbagai karakter, sedangkan adegan 2 membicarakan 3 poin, yaitu Gareng yang lupa akan titahnya sebagai pamong, membicarakan ketika Gareng menjadi Raja, dan imajinasi Gareng terhadap wanita pujaannya yaitu Dewi Saradewati. Pada adegan 3, penata membicarakan sosok Gareng yang kembali ke perenungan dan berintrospeksi diri.Diharapkan dengan adanya karya cipta tari ini, masyarakat dan penonton dapat mengerti dan memahami bahwa janganlah memandang orang sebelah mata, jangan melihat dari segi fisik, namun lihatlah orang dari hatinya, sebagaimana yang digambarkan oleh sosok Gareng ini.  Rerahsa is a group dance work which danced by seven male dancer. This dance is the way of pouring ideas and creativity from kinesthetic stimuli and notion stimuli, namely the idea of empirical experience by the stylist who ever proceed with the disabled so as to inspire the stylist to lift the puppet characters named Gareng, as the basic of the unnatural motion (defects) in basic Javanese traditional dance, Yogyakarta’s style. The focus of this work is the essence of defects motion and plays more expressions. The stylist takes Gareng as one of the leadership symbols that can provide a good example to the next generation nowadays, to show that a physical disability is not a shameful thing; it can motivates our life to be better. According to the stylist, a leader nowadays has no longer Gareng characteristics, thus becoming one of the stylist motivations to work on this Rerahsa work.This work consists of three scenes. In the introduction, the stylist indicates Gareng as servants / officials. Scene one is focusing on the study of Gareng’s motion with various characters, while the second scene is talking about three points. The first one is when Gareng who forgot his position as officials, the second one is when Gareng became a king, and the last one is about Gareng imagination against his female idol, goddess Saradewati. In the third scene, the stylist discusses Gareng who returns to self-reflection and introspection.Hopefully by this dance artworks, the public and the audience can see and understand to do not judge the book from the cover, do not judge someone by the physical looking, but look at their heart, as is illustrated by the figure of Gareng. 


Sign in / Sign up

Export Citation Format

Share Document