Republican Capua: A Social and Economic Study

1959 ◽  
Vol 27 ◽  
pp. 80-130 ◽  
Author(s):  
M. W. Frederiksen
Keyword(s):  
Roman Republic ◽  
Political Power ◽  
Fourth Century ◽  
The Other ◽  
Economic Study ◽  
The Third ◽  
Dark Ages ◽  
Second Punic War

It is the aim of the following pages to study the evidence for the condition and economy of Capua in the period of the Roman Republic, and to suggest some fresh conclusions on its role in the more general evolution of Roman commerce and influence. For two centuries or more after the Second Punic War, until other more favoured and more extensive regions of the empire began to compete with Italian agriculture and industry, the cities of Campania maintained a certain degree of primacy over others in the peninsula. Among these, Capua had for long held the chief political power, and even after its defeat by the Romans in 211 B.C., retained some degree of prestige throughout antiquity. Before her defection to Hannibal, Capua might be ranked with Carthage or Corinth in wealth and power; and even at the other end of antiquity, in the fourth century A.D., Capua was the third city of Italy, next only to Rome and Aquileia, a position substantially retained in the Dark Ages and in later history.

The Eudemian Theogony and Early Orphic Poetry

2018 ◽  
pp. 87-118
Author(s):  
Dwayne A. Meisner
Keyword(s):  
Fourth Century ◽  
Fifth Century ◽  
The Other ◽  
Fourth Section ◽  
The Third

The third chapter is about a theogony that had been known to the philosopher Eudemus (fourth century BC), and all of the other fragments that modern scholars have associated with this theogony. The Neoplatonist Damascius (fifth century AD) says that the theogony started with Night, but modern scholars have tried to link this to other early fragments of Orphic poetry. This chapter discusses Aristophanes in the first section, and Plato and Aristotle in the second section, arguing that their scattered references to Orphic poems might not have been from the same theogony. The third section introduces the Orphic Hymn(s) to Zeus that appear in different variations, the earliest of which are from around the same time as these other fragments. The fourth section suggests that early Orphic fragments about Demeter and Dionysus are not from the Eudemian theogony.

scholarly journals I.—Clay Disks from Tarentum

1883 ◽  
Vol 4 ◽  
pp. 156-157
Author(s):  
P. G.
Keyword(s):  
Fourth Century ◽  
The Other ◽  
Third Century ◽  
Artistic Value ◽  
The Third ◽  
Image Position

Among the objects brought from Tarentum by the Rev. G. J. Chester are certain disks of clay of some interest, though not of artistic value. They are circular and flat or cheese-like in form, with a diameter of 3½ to 3¾ inches, and a thickness of about ¾ of an inch. The inscriptions are impressed in the clay by means of a stamp, and run thus:The order in date is that followed in the list. No. 1 is oldest, and the shape of the м seems to indicate that it may date from the fourth century B.C.; the other three are probably not earlier than the third century. Later they can scarcely be, for after that time the obol gave way to the Roman denarius and sestertius as a measure of value at Tarentum.

Principes cum Tyrannis: Two Studies on the Kaisergeschichte and its Tradition

1993 ◽  
Vol 43 (2) ◽  
pp. 491-500 ◽  
Author(s):  
R. W. Burgess
Keyword(s):  
Fourth Century ◽  
The Other ◽  
Third Century ◽  
Common Source ◽  
Single Source ◽  
Natural Assumption ◽  
Ammianus Marcellinus ◽  
The Third ◽  
Historia Augusta ◽  
Selection Of

The Kaisergeschichte (KG) was a set of short imperial biographies extending from Augustus to the death of Constantine, probably written between 337 and c. 340. It no longer exists but its existence can be deduced from other surviving works. Amongst the histories of the fourth century – Aurelius Victor, Eutropius, Festus, Jerome's Chronici canones, the Historia Augusta, the Epitome de Caesaribus, and, in places, even Ammianus Marcellinus and perhaps the Origo Constantini imperatoris (Anonymi Valesiani pars prior) – there is a common selection of facts and errors, and common wording and phrasing in their narratives between Augustus and the death of Constantine, especially in their accounts of the third century. A natural assumption is that later historians copied earlier ones, yet later historians include information not contained in earlier ones, and historians who could not have known each other's work share similarities. For example, it looks as though Aurelius Victor was copying Eutropius, yet Victor wrote before Eutropius, and Eutropius contains information not in Victor and does not reproduce Victor's peculiar style or personal biases, things which he could hardly have avoided. Therefore Eutropius cannot be copying Victor. Since neither could have copied the other, there must therefore have been a common source. In his Chronici canones Jerome appears at first to be simply copying Eutropius. Yet when he deviates from Eutropius, his deviations usually mirror other histories, such as Suetonius, Victor, Festus, even the Epitome and the Historia Augusta, two works that had not even been written when Jerome compiled his chronicle and that did not use, and would never have used, the Christian chronicle as a source. Jerome was hurriedly dictating to his secretary, he had no time to peruse four or five works at a time for his brief notices. There must have been a single source that contained both the Eutropian material and the deviations common to Jerome and the other works. That source was the KG. It is the purpose of this paper to add to the above list of authors who relied upon the KG two other writers whose work can be shown to have derived, either at first hand or later, from the KG: Polemius Silvius and Ausonius.

Gothic evidence for the pronunciation of Greek in the fourth century AD

2016 ◽  
Vol 6 (1) ◽  
pp. 93-113
Author(s):  
Ville Leppänen
Keyword(s):  
Fourth Century ◽  
The Other ◽  
Vicious Circle ◽  
Loan Words ◽  
The Third ◽  
Circular Argument ◽  
Novel Method ◽  
The One

Abstract The Gothic Bible offers valuable secondary evidence for the pronunciation of Greek in the fourth century AD. However, inferences based on such data may result in a vicious circle, as the interpretation of Gothic is, to a great extent, dependent on the historical details of contemporary Greek. I show that a circular argument can be avoided by using a novel method, which is based on the comparison of transcription correspondences of Greek loan words and biblical names occurring in the Greek original and the Gothic version. I test the method by applying it to three example cases. The first concerns the aspirated stops φ, θ, χ: Gothic evidence confirms the fricativization of these stops. The second case concerns the potential fricativization of voiced stops β, δ, γ: the results are inconclusive, which is an important finding, since this shows that Gothic cannot be used as evidence for the fricativization of these stops. The third case concerns front vowels: Gothic evidence confirms the coalescence of αι and ε on the one hand, and ει and ῑ on the other, while it also indicates that η was not (yet) pronounced as [iː] in the fourth century AD.

The Provincial List of Verona

1923 ◽  
Vol 13 (1-2) ◽  
pp. 127-151 ◽  
Author(s):  
J. B. Bury
Keyword(s):  
Fourth Century ◽  
Provincial Government ◽  
The Other ◽  
Third Century ◽  
Military Organization ◽  
The Third ◽  
History Of ◽  
The Military

§ 1. The exact measure of the originality of Diocletian's statesmanship has not yet been taken. ‘Like Augustus,’ said Gibbon, ‘Diocletian may be considered the founder of a new empire’ and these words express the accepted view. In the whole work of pulling the Empire together, which went on from A.D. 270 to 330, the three outstanding actors were Aurelian, Diocletian, and Constantine, and the part played by Aurelian was indispensable for the restitutio orbis. It was he who destroyed the Principate, notwithstanding the negligible episode of Tacitus. It was he who founded the autocracy; Diocletian who regularized and systematized it. Two new things Diocletian certainly did, one of which was a success and the other a failure though not a fruitless one. His division of the Empire into Dioceses was permanent for nearly three hundred years. His throne system led to disaster and disappeared; yet the territorial quadripartition which it involved was afterwards stereotyped in the four Prefectures, and Nicomedia pointed to Constantinople. But in many of the other changes which distinguished the Empire of Constantine from the Empire of Severus and which have generally been regarded as inventions of Diocletian, it is becoming clear that he was not the initiator but was only extending and systematizing changes which had already been begun. The separation of civil from military powers in provincial government had been initiated by Gallienus (the importance of whose reign has in recent years been emerging). Some of the characteristics which mark the military organization of the fourth century had come before Diocletian's accession. Mr. Mattingly's studies in the numismatic history of the third century have been leading him, as he tells us, to similar conclusions.

Aspects of Iconography in Romano-British Mosaics: the Rudston ‘Aquatic’ Scene and the Brading Astronomer Revisited

Britannia ◽  
2006 ◽  
Vol 37 ◽  
pp. 295-336 ◽  
Author(s):  
R.J.A. Wilson
Keyword(s):  
Subject Matter ◽  
Fourth Century ◽  
The Other ◽  
Third Century ◽  
North African ◽  
Dominant Position ◽  
Central Figure ◽  
The Third ◽  
Adjacent Room ◽  
The Subject

ABSTRACTThe fourth-century Rudston ‘aquatic’ mosaic is likely to show Oceanus at the centre rather than Neptune, and the dominant position of the head on the floor suggests that the inspiration for it derives, however remotely, from North African models where the scene was common. This is made more plausible by the fact that African influence, as is well known, is also detectable on the famous Venus mosaic by the same mosaicist in an adjacent room in the same building. At Brading, the central figure in the main reception room – a half-naked man with stick, globe and sundial – is identified, not just as a generic ‘philosopher’ type, but specifically as the third-century B.C. astronomer and poet, Aratus, on the basis of comparanda on mosaics, tapestry, silverware and in an illustrated manuscript of his work, thePhaenomena. It is further suggested that the key to reading the damaged larger part of the Brading floor above Aratus might be a Latin translation of his work, possibly that by Avienusc.A.D. 350, if the mosaic is indeed approximately of that date rather than earlier, and that the subject-matter of the panels alluded to constellations described in the poem. A very tentative attempt is made to identify what might have been depicted in the panels, on the basis of the mythology behind the constellations as explained in Latin adaptations of the poem: those of Perseus and Andromeda are illustrated in the surviving panel, and possibly Phaethon and Eridanus, Hercules and the serpent in the Garden of the Hesperides, and conceivably Pegasus at a spring were shown in the other three. It is also suggested that these unusual scenes might have been based on an illustrated manuscript of the work in the possession of thedominusat Brading. Be that as it may, the mosaic does appear to provide further evidence of the depth of classical learning displayed by at least some members of the Romano-British rural élite in the fourth century A.D.

scholarly journals The myth of the state, or the state's religious legitimation

1972 ◽  
Vol 6 ◽  
pp. 170-188 ◽  
Author(s):  
Carl-Martin Edsman
Keyword(s):  
National Socialism ◽  
Third World ◽  
Political Power ◽  
The State ◽  
The Other ◽  
The Third ◽  
Other Hand ◽  
Official Ideology ◽  
The Third World

The myth of the state is used for legitimating certain actions. For example, the ideologist of National Socialism, A. Rosenberg, used the term myth for the belief or conception of life which was to sustain the new state. The Third Reich's myth was the superiority and glory of the Aryan' race. In addition, Hitler compared the requisite official ideology or philosophy to a religion. It must be intolerant like a religion; it demanded total submission, organization and devotion to struggle. Even Hitler's comrade in arms, Mussolini, used similar language, although the substance was partially different. Thus in a speech at Naples in 1922, Mussolini said: "We have created our myth. The myth is a faith, it is passion. It is not necessary that it shall be a reality. It is a reality by the fact that it is a goad, a hope, a faith, that it is courage. Our myth is the nation, our myth is the greatness of the nation ! In the Third World, besides native traditions, there are ideas taken from the Christian or secularized West. The first type of appropriation may have taken place long ago or in our own time. Within Islam, an offshoot from Judaism and Christianity, the theocratic consciousness is highly evident. The holder of political power is the instrument of God and shall therefore be obeyed. The ruler, on the other hand, shall consult his subjects, and the believers shall do the same among themselves and assist each other in word and deed.

Efficacy of some insecticide modules against major insect pests and spider population of rice, Oryza sativa L.

ENTOMON ◽  
2018 ◽  
Vol 43 (4) ◽  
pp. 257-262
Author(s):  
Atanu Seni ◽  
Bhimasen Naik
Keyword(s):  
Oryza Sativa ◽  
Grain Yield ◽  
Untreated Control ◽  
Insect Pests ◽  
Oryza Sativa L ◽  
Gall Midge ◽  
Stem Borer ◽  
The Other ◽  
The Third ◽  
Treated Plot

Experiments were carried out to assess some insecticide modules against major insect pests of rice. Each module consists of a basal application of carbofuran 3G @ 1 kg a.i ha-1 at 20 DAT and Rynaxypyr 20 SC @ 30 g a.i ha-1 at 45 DAT except untreated control. All modules differ with each other only in third treatment which was applied in 65 DAT. The third treatment includes: Imidacloprid 17.8 SL @ 27 g a.i ha-1, Pymetrozine 50 WG @ 150 g a.i ha-1, Triflumezopyrim 106 SC @ 27 g a.i ha-1, Buprofezin 25 SC @ 250 g a.i ha-1; Glamore (Imidacloprid 40+Ethiprole 40% w/w) 80 WG @ 100 g a.i. ha-1, Thiacloprid 24 SC @ 60 g a.i ha-1, Azadirachtin 0.03 EC @ 8 g a.i ha-1, Dinotefuran 20 SG@ 40 g a.i ha-1 and untreated control. All the treated plots recorded significantly lower percent of dead heart, white ear- head caused by stem borer and silver shoot caused by gall midge. Module with Pymetrozine 50 WG @ 150 g a.i ha-1 treated plot recorded significantly higher per cent reduction of plant hoppers (>80% over untreated control) and produced higher grain yield (50.75 qha-1) than the other modules. Among the different treated modules the maximum number of spiders was found in Azadirachtin 0.03 EC @ 8 g a.i ha-1 treated module plot followed by other treatments.

Retroaktive Neuverhandlung

2018 ◽  
Vol 63 (1) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
Original Work ◽  
The Other ◽  
Final Part ◽  
Critical Reading ◽  
The Third ◽  
Works Of Art ◽  
The Relationship

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.

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