The Power of Words in Shakespeare’s Julius Caesar: An Insight into Analyzing Julius Caesar from the Perspective of the Logical Fallacies

This research aims at utilizing the knowledge of logical fallacies in analyzing Shakespeare’s masterpiece Julius Caesar. Spotting these fallacies in the characters’ actions and speeches is more likely to expand our horizon by grasping what is hidden between the lines and beyond the surface dialogue, thus revealing the true intentions of the characters and the subliminal messages beyond what they say. To achieve this goal, an explanation for each fallacy is provided. Also, various examples of fallacies committed by Donald Trump in the American presidential debate in addition to some of his fallacious tweets and other examples are thoroughly analyzed. It is found that by providing meticulous analysis for the fallacies under question readers would be protected from being victimized to any ambiguous and/or language literary interpretation.

Gli strali dell’ira: un presunto thema Vergilianum in Claudiano (carm. min. 6)

This paper offers a critical edition and a literary discussion of Claudian, carm. min. 6. Each of the four hexameters of which it consists develops Vergilian materials, namely from two distinct passages in the Aeneid (7.708 and 1.150). The general theme explored by Claudian is that of the improvised ‘weapons’ into which anger turns otherwise innocuous objects. The fortune of the poem, appreciated by both Latin authors and later scholars such as Julius Caesar Scaliger, is also explored.

Orisa-Shakespeare: A study of Shakespeare Adaptations Inspired by the Yoruba Tradition

<p>This thesis combines creative practice with critical analysis to intervene in the field of post-colonial Shakespeare where, for over a generation, the process of adaptation has been presented as one of the main strategies by which Shakespeare’s ambiguous legacy in successor cultures can be both confronted and manipulated. Scholars often use the term “writing back” to designate a set of adaptations which challenge the cultural capital that Shakespeare privileges. By linking Yoruba spirituality in its political and cultural terms to the wider field of the relation between Africa, African writers and theatre makers and Shakespeare, the thesis proposes a new sub-field or genre of adaptations, “Orisa-Shakespeare,” rooted in Yoruba traditions. The thesis argues that, written in Nigeria and the Yoruba global diaspora, this set of adaptations are not necessarily challenging the Shakespeare canon but addressing their own societies, thus “writing forward.” The thesis examines the cultural and political significance of this bourgeoning body of adaptations of Shakespeare through the lens of Yoruba epistemology and its aesthetic principles. The thesis is broadly divided into two parts: an exegesis of selected adaptations of Shakespeare as case studies of post-colonial works that reflect and integrate Yoruba creative and performative idioms and translate them into dramaturgy; and an original play, Emi Caesar! in which core elements of Shakespeare’s Julius Caesar are transplanted into the complex, violent world of Yoruba politics of the mid-19th century, as a parable for contemporary Nigeria politics where factionalism (specifically tribal/ethnic bigotry) works against the integrity and security of the society. In the context that the thesis proposes, the present has constant recourse to the past, especially the ancestors, and engages in rituals which create ongoing, living links between human beings and the realm of the Yoruba Gods (Orisa).The outcomes are the documentation of a uniquely Yoruba theory of literary creativity, a new play based on Julius Caesar, and an original contribution to the broad field of postcolonial (Shakespeare) adaptations scholarship.</p>

Orisa-Shakespeare: A study of Shakespeare Adaptations Inspired by the Yoruba Tradition

<p>This thesis combines creative practice with critical analysis to intervene in the field of post-colonial Shakespeare where, for over a generation, the process of adaptation has been presented as one of the main strategies by which Shakespeare’s ambiguous legacy in successor cultures can be both confronted and manipulated. Scholars often use the term “writing back” to designate a set of adaptations which challenge the cultural capital that Shakespeare privileges. By linking Yoruba spirituality in its political and cultural terms to the wider field of the relation between Africa, African writers and theatre makers and Shakespeare, the thesis proposes a new sub-field or genre of adaptations, “Orisa-Shakespeare,” rooted in Yoruba traditions. The thesis argues that, written in Nigeria and the Yoruba global diaspora, this set of adaptations are not necessarily challenging the Shakespeare canon but addressing their own societies, thus “writing forward.” The thesis examines the cultural and political significance of this bourgeoning body of adaptations of Shakespeare through the lens of Yoruba epistemology and its aesthetic principles. The thesis is broadly divided into two parts: an exegesis of selected adaptations of Shakespeare as case studies of post-colonial works that reflect and integrate Yoruba creative and performative idioms and translate them into dramaturgy; and an original play, Emi Caesar! in which core elements of Shakespeare’s Julius Caesar are transplanted into the complex, violent world of Yoruba politics of the mid-19th century, as a parable for contemporary Nigeria politics where factionalism (specifically tribal/ethnic bigotry) works against the integrity and security of the society. In the context that the thesis proposes, the present has constant recourse to the past, especially the ancestors, and engages in rituals which create ongoing, living links between human beings and the realm of the Yoruba Gods (Orisa).The outcomes are the documentation of a uniquely Yoruba theory of literary creativity, a new play based on Julius Caesar, and an original contribution to the broad field of postcolonial (Shakespeare) adaptations scholarship.</p>

ROMANS, GAULS, AND GERMANS: METUS HOSTILIS AND ETHNOLOOKISM AS TRIGGERS

В статье исследуются те эмоциональные триггеры, которые на протяжении ряда веков оказывали психологическое воздействие на коллективное сознание римской этнокультурной и политической общности в процессе её противостояния варварству. В этом контексте автор обращается к такому феномену, как лукизм, под которым понимается дискриминация по внешности (применительно к варварам речь идёт о негативном лукизме). Основной материал статьи посвящён этнолукизму как повседневной дискриминационной практике римлян по отношению к северным варварам — галлам и германцам. Тот иррациональный страх, который римляне испытывали перед угрозой галльского или германского нашествия, в значительной степени был обусловлен негативным этнолукизмом. В данном случае роль эмоциональных триггеров играли характерные плащи и брюки, а также высокий рост, телесная мощь, голубые глаза и длинные светлые волосы северных варваров. Преодолевать панический страх по отношению к галлам и германцам римлянам помогал авторитет победоносных полководцев, таких как Гай Марий и Юлий Цезарь. Процесс варваризации римской армии в значительной степени способствовал краху римской государственности на Западе и образованию на месте Западной Римской империи варварских королевств. The article explores those emotional triggers that over the centuries have had a psychological impact on collective consciousness of the Roman ethnocultural and political community in the process of its opposition to barbarism. In this context, the author refers to such a phenomenon as lookism, which means discrimination in appearance (in relation to barbarians we are talking about negative lookism). The main material of the article is devoted to ethnolookism as a daily discrimanatory practice of the Romans towards the northern barbarians — the Gauls and the Germans. The irrational fear that the Romans experienced facing the threat of a Gallic or Germanic invasion was largely due to negative ethnolookism. In this case, the role of emotional triggers was played by characteristic raincoats and trousers, as well as the tall stature, bodily strength, blue eyes and long blond hair of the northern barbarians. The authority of victorious commanders such as Gaius Marius and Julius Caesar helped the Romans to overcome their panic fear of the Gauls and the Germans. The process of barbarization of the Roman army largely contributed to the collapse of the Roman state in the West and the formation of the barbarian kingdoms on the site of the Western Roman Empire.

History of caesarean section surgery

Caesarean section is one of the oldest operations in the history of mankind and is the most common surgical intervention in obstetric practice. Translated from Latin, «caesarean section» means «royal cut», and in the days of the Roman Empire, only people marked with a special gift could be born in this way. According to one of the existing legends, this is how Gaius Julius Caesar was born, and it was the incision in his mother's womb that gave him the name «Caesar». However, given the fact that his mother died when Caesar was 46 years old, the legend still has the right to remain a legend. It is also believed that by removing the baby from the womb of the deceased mother, the ancient Greek god Asclepius, the doctor, was born — he was also Aesculapius among the Romans. His mother was struck by Zeus the Thunderer for her infidelity to her husband Apollo, but the child was taken out alive after the woman's death. Be that as it may, the first mentions of a caesarean section do not at all date back to the 16th century, as was commonly believed, but have much deeper roots. It is believed that even some famous people were born by removing them from their mother's womb, and this gave them a chance at life. The beginning of the scientific version of the appearance of the caesarean section operation can be considered the publication of the monograph by F. Rousset in 1581, in which a sufficiently detailed description of the technique of the cesarean section operation was provided and a list of indications for it was given [2]. Today, this operation is a fairly common surgical intervention that can significantly alleviate the suffering of a woman in labor, avoid a number of complications, and sometimes save the life of a mother and child.