scholarly journals Bounds of Passion: Adultery, Gender and Modernization of Penal Practices in Ottoman Society From the Classical Age to 1915

Mavi Atlas ◽  
2021 ◽  
Author(s):  
Cem DOĞAN
Keyword(s):  
Classical Age

The Beast Within

2015 ◽  
Vol 129 (1) ◽  
pp. 25-55 ◽  
Author(s):  
Peter Sahlins
Keyword(s):  
Human Nature ◽  
Blood Transfusions ◽  
Animal Blood ◽  
Attitudes Toward Animals ◽  
Classical Age

The “most able Cartesian philosopher,” Jean Denis (1635–1704), undertook a series of blood transfusions in 1667 and 1668 in Paris for therapeutic purposes, especially to cure madness, using the blood of animals. A range of actors and institutions opposed the controversial experiments, and the high law court of Paris condemned the practice in 1668. This article examines the attitudes toward animals and animal blood on both sides of the transfusionist debate and the resulting insistence on the “beast within” human nature that found a renewed expression at the beginning of the Classical Age.

The Neo-Classical Chronicle of the Wandering Jew

PMLA ◽  
1948 ◽  
Vol 63 (1) ◽  
pp. 199-213
Author(s):  
George K. Anderson
Keyword(s):  
Classical Age

It was inevitable that sooner or later the Wandering Jew, probably the most celebrated of all parcoureurs du monde, should come to be regarded as omniscient as well as ubiquitous. After all, he had been alive since the beginnings of the Christian era, and there was no spot in the generally known world of the Occident where he had not at one time or another passed by or spent his allotted period of residence. In his privileged condition of one who was all-wise, it would be easy for him, if he were so disposed, to assume the mantle of teacher and prophet, with a particular liking for history and geography; but he need not confine himself to those two subjects. The neo-classical age, which developed his didactic powers, sometimes appealed to him for social comment, criticism, and satire.

PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA

2019 ◽  
Vol 7 (11) ◽  
pp. 135-140
Author(s):  
Shubha Tripathi ◽  
Beena Jain
Keyword(s):  
Middle Part ◽  
Middle Ground ◽  
Cave Paintings ◽  
The Law ◽  
Indian Painting ◽  
Classical Age

The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD. The Ajanta art is considered as the classical age of Indian painting. The artists of Ajanta did not follow the law of perspective and represented the figures in its entirety rather than appeared through a normal eye. Ajanta artists tried to depict the whole view through horizontal bands. In the paintings at Ajanta, the background was painted at the topmost band, the middle part of the painting below it and the foreground below the middle ground.

scholarly journals Somatic Phraseological Units with the Component“Heart” in Ancient Greek Tragedies of the Classical Age

2018 ◽  
pp. 64-73
Author(s):  
Oleksandra Tyrnova
Keyword(s):  
Positive Emotions ◽  
Greek Language ◽  
Physical Pain ◽  
Ancient Greek ◽  
Psychological States ◽  
Greek Culture ◽  
Cognitive Metaphor ◽  
Physical Injuries ◽  
Slow Heart Rate ◽  
Classical Age

The article explores phraseological units with the somatic component “heart”, which serve to denote emotions, psychological states and feelings in the Ancient Greek language of the classical age. The authors analyze the meaning of the verbs, used in the structure of the somatic phraseological units and compound metaphors with the somatic word “heart”. It is determined that more than hundred somatic phraseological units with the component καρδία / κραδίη / κῆρ “heart” are used in Greek tragedies of Aeschylus, Sophocles and Euripides and 62 units of them serve to denote emotions, psychological states and feelings. It is revealed that somatic phraseological units with the component “heart”, which denote negative emotions and feelings, are predominant in the language of Greek tragedies. In particular, these emotions and feelings are sadness, sorrow, fear, anger, annoyance, irritation, malice, mental pain, despair and depression. The sphere of positive emotions, such as joy, exaltation, satisfaction, calmness and pacification, represented by the language material show the correlation of 15 % to 85 % with the phraseological units of negative meaning. It is found out that the meaning of verbs, used as a part of the phraseological unit, refer to physical action, which is committed over the heart, particularly harm, violence and abuse, physical pain, fast or slow heart rate, cold or hot feelings. In the phraseological units, which denote depression and despair, verbs indicate causing physical injuries of heart, for example, θλίβω “squeeze”,“compress”, δάκνω “bite”, μαστιγόω “slash”, ἐκτήκω “melt”. The verbs, used in the phraseological units with the meaning of fear, indicate changes of heart’s temperature and its pace, for instance ζωπυρέω “flare up”, ὀρχέομαι “dance”. Mental anxiety is verbalized via the cognitive metaphor “heart – water”, therefore waves arise in an alarmed heart or heart rages from an inevitable cycle. The results of the research confirm the thesis that the ancient Greek culture is a “culture of the heart”.

The Panegyrics of Domitian in Martial Book 9

Ramus ◽  
1993 ◽  
Vol 22 (1) ◽  
pp. 78-102 ◽  
Author(s):  
John Garthwaite
Keyword(s):  
Rich Diversity ◽  
The Rich ◽  
Thematic Coherence ◽  
Classical Age

The rich diversity of Martial's Epigrams makes up, in Duff's words, ‘one of the most extraordinary galleries of literary pictures, vignettes, miniatures, portraits, caricatures, sometimes almost thumbnail sketches' of the Classical Age. Yet the books are by no means merely random or haphazard assortments. Like other Roman poets, Martial was attentive to the need to impose a sense of order and continuity on his published material. Naturally the very number of poems, as well as their varied inspiration and often impromptu composition, would militate against any overall thematic coherence. Moreover, Martial was also keen to exploit the inherent variety of the epigrammatic genre; thus, in the preface to Book 8, he says that he has interspersed more trivial and jocular material among his panegyrics of the emperor to prevent continuous eulogies from becoming tiresome to their recipient.

Sign in / Sign up

Export Citation Format

Share Document