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Academic literature on the topic 'Tanaquil'

Author: Grafiati

Published: 11 March 2023

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Journal articles on the topic "Tanaquil"

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Haack, Marie-Laurence. "Tanaquil et les chemises noires et brunes." Anabases, no. 24 (November 10, 2016): 93–116. http://dx.doi.org/10.4000/anabases.5900.

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Santini, Carlo. "Tanaquil vel Fortuna: una figura femminile nel percorso tra mito, testo e icona." Giornale Italiano di Filologia 57, no. 2 (November 2005): 189–210. http://dx.doi.org/10.1484/j.gif.5.101979.

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Cailleux, Fanny. "Tanaquil, Tullia, Damarata : les conseillères officieuses des rois dans l’Histoire romaine de Tite-Live et la dégradation de la monarchie." Dialogues d'histoire ancienne S 17, Supplement17 (2017): 487. http://dx.doi.org/10.3917/dha.hs17.0487.

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Michel, Jacqueline, Miles O. Hayes, Richard S. Keenan, John R. Jensen, and Sunil Narumalani. "OIL IN NEARSHORE SUBTIDAL SEDIMENTS OF SAUDI ARABIA FROM THE GULF WAR SPILL." International Oil Spill Conference Proceedings 1993, no. 1 (March 1, 1993): 383–88. http://dx.doi.org/10.7901/2169-3358-1993-1-383.

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ABSTRACT Detailed sedimentological and dynamic-process studies of the shallow, subtidal habitats of Dawhats ad Dafi and al Mussallamiyah and the bays at Tanaqib on the Saudi Arabian coast were carried out one year after the Gulf War oil spill. These studies were part of Leg II of the NOAA ship Mt. Mitchell cruise. Satellite imagery and space shuttle photography were used extensively to develop detailed study plans. Work accomplished during the study included deployment of three current meters, a tide gauge, and suspended sediment traps (at seven locations). Bathymetric surveys were conducted along 14 transects, and 197 bottom observation dives were carried out. More than 170 bottom sediment samples were collected for chemical and/or textural analysis. Sediment hydrocarbon screening by HPLC fluorescence was conducted on board to verify and refine the sampling plan. The results to date show no evidence of large-scale sinking of oil as a result of the spill. Subtidal oil, as sparse tar balls, was visually observed by divers at three locations, all of which were associated with the erosion of oiled sand from outer beaches. On-board chemical results showed that subtidal sediments have been contaminated at levels ranging from 20 to 2,000 mg/kg petroleum hydrocarbons, with the highest contamination up in the sheltered, muddy basins. However, the oil initially stranded in the intertidal zone does not appear to be accumulating in the nearshore subtidal region in significant quantities one year later.

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López Gómez, Helena. "Las funciones institucionales de las mujeres de la familia de Augusto: Octavia, Livia y Julia." Lucentum, February 17, 2022. http://dx.doi.org/10.14198/lvcentvm.20311.

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El presente artículo pretende ofrecer una visión sobre el papel institucional desarrollado por las principales mujeres de la familia de Augusto. De esta forma nos proponemos entender la forma en que el “cargo” de emperatriz romana se comienza a perfilar a inicios del Imperio. Para ello se tiene en cuenta la labor precursora de muchas mujeres tanto de la legendaria monarquía como de la República que, con sus acciones audaces captaron la atención de los historiadores antiguos y comenzaron la senda de empoderamiento femenino, reconociéndose su relevancia en ciertos aspectos de la vida pública y política. Estas mujeres ocupan los relatos de los autores en momentos puntuales, como Tanaquil o Lucrecia en época monárquica o Cornelia, Hortensia o Fulvia en la República. Sin embargo, las mujeres de las familias imperiales y, concretamente, las de la domus Augusta, son las primeras en desarrollar un rol público constante y sistemático. Junto a la mayor parte de emperadores se encuentran mujeres poderosas que los acompañan. Así pues, en las primeras décadas del principado se da la entrada de la mujer en el ámbito del poder de una forma más abierta, reconociéndose su propia relevancia. En este sentido, en el artículo se analiza cómo, pese a la naturaleza conservadora del nuevo régimen de Augusto, se permitió este avance en la posición pública femenina sin que ello supusiese una inversión en los roles de género o un revuelo para la sociedad del momento. A través de las figuras de Octavia, Livia y Julia se estudiará la forma en que se comenzó a perfilar la posición de la mujer en el poder a través de su labor institucional como parte de la familia imperial. Así pues, estas mujeres empezarán a tener un papel propio en un terreno antes vedado. La transición culminará con las condiciones especificadas en el testamento del princeps en relación a la situación que su viuda debía mantener tras su muerte. Con ello, se consolidarán las bases del rol de emperatriz y Augusta para las restantes generaciones del Alto Imperio.

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Dissertations / Theses on the topic "Tanaquil"

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Gramolelli, Giada <1996&gt. "Tanaquilla, Clelia e Veturia: tre exempla femminili raccontati da Livio nella propaganda augustea." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19717.

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Livio nella sua Ab Urbe condita ha inserito vari exempla femminili di età monarchica e repubblicana. La tesi inizia con l’analisi delle problematiche dell’opera liviana quali la cronologia e le fonti, utilizzate dallo storico, che non ci sono giunte. Si occupa in seguito della differenza tra figura storica e leggendaria, evidenziando come molti personaggi descritti da Livio possono essere stati frutto della stratificazione di tradizioni differenti. La tesi quindi prende in esame tre figure femminili: Tanaquilla con l’occultamento della morte del marito Tarquinio Prisco; Clelia con il suo coraggio e con il suo onore statuario; e Veturia con la sua azione nell’agmen mulierum e con il suo discorso al figlio Coriolano. Si tratta di tre personaggi le cui azioni potevano trovare un chiaro richiamo nella realtà contemporanea di Livio: Tanaquilla con l’occultamento della morte di Augusto messa in atto da Livia; Clelia con l’onore statuario del 35 a.C. concesso a Livia e Ottavia; Veturia con l’azione dell’agmen mulierum e con il restauro del tempio a Fortuna Muliebre. La domanda quindi attorno cui ruota l’intero elaborato è se le scelte contenutistiche di Livio sono state fatte in base a quanto le sue fonti, a noi non pervenute, gli hanno riportato, o se lo storico ha manipolato ad hoc episodi antichi all’interno di quella che era la propaganda augustea per legittimare le azioni di Augusto o di donne della sua famiglia.

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SCALFARI, VINCENZO EUGENIO. "La religione romana di VI secolo a.C.; dialettica interna ed interazioni con le culture greca e fenicia nelle tradizioni tarquinie e serviane." Doctoral thesis, 2013. http://hdl.handle.net/11562/580550.

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Nel tentativo di assegnare un’identità alla statua di una divinità femminile armata che coronava l'acroterio del santuario romano di Fortuna e Mater Matuta nella fase edilizia pertinente all'attività di Tarquinio il Superbo, l’autore identifica lo schema compositivo dell’intero gruppo acroteriale come presentazione del mito corinzio di Ino e Melicerte, cui si affianca l’autorappresentazione dell’ultimo sovrano di Roma e della divinità femminile tutelare del suo potere personale e dell’intera dinastia dei Tarquini, famiglia di origine corinzia. Viene pertanto rivisitata la documentazione archeologica e letteraria sulla natura di alcune divinità femminili greche di tradizione esiodea e omerica in cui si riconoscono tratti arcaici dovuti alla contaminazione con la divinità fenicia Astarte; tale interazione è particolarmente profonda per le figure di Astarte e della Afrodite di Corinto, che solo in età classica perderà gli attributi courotrophici e bellici per essere destinata a diverse competenze, ma che nelle attestazioni d'età arcaica è una divinità militare che riveste un ruolo tutelare sulla città e sulle dinastie che vi sovrintendono. Gli aspetti orientali riconosciuti al culto della Fortuna-Afrodite romana potrebbero, dunque, derivare da una mediazione dovuta alla cultura religiosa greca piuttosto che da un diretto apporto di mercanti fenici presenti nell’area emporica del Foro Boario. Intorno ai motivi cultuali che risiedono nel patrimonio mitopoietico romano a proposito degli ultimi sovrani di Roma e delle divinità che li investono del potere regale, si ipotizza che essi derivino da una doppia tradizione costruita al principio del V secolo a.C. nel momento in cui il Senato di Roma e Aristodemo di Cuma sono avversari in un pubblico processo per l'assegnazione dell'eredità di Tarquinio il Superbo; le parti in causa avrebbero, pertanto, utilizzato ricostruzioni genealogiche opposte tra loro perché riferite a diversi personaggi mitici che legittimassero le rispettive richieste di assegnazione di tale eredità.
In an attempt to assign an identity to the statue of a female deity armed the crowning acroterion of the Roman sanctuary of Fortuna and Mater Matuta in the building phase relevant to the activity of Tarquinius Superbus, the author identifies the compositional scheme of the entire group acroterial as presentation of the Corinthian myth of Ino and Melicertes, which is accompanied by the self-representation of the last ruler of Rome and the female deity of his personal power and protect the entire dynasty of Tarquini, family of Corinthian origin. It is therefore revisited the sources archaeological and literary about the nature of some Greek goddesses of Hesiod and the Homeric tradition in which we can recognize archaic features due to contamination with the Phoenician goddess Astarte, and this interaction is particularly profound for the figures of Astarte and Aphrodite in Corinth that only in the classical age of war and lose the attributes courotrophici to be allocated to different skills, but that in the proof of the Archaic period is a deity who plays a military role to protect the city and the dynasties that they oversee. Aspects eastern recognized to the cult of Aphrodite Fortuna-Roman might, therefore, result from a mediation due to the Greek religious culture rather than a direct contribution of Phoenician merchants in the area of the Forum Boarium. Around the grounds cult residing in the Roman heritage mitopoietico about the last sovereign of Rome and the gods who invest them with royal power, it is assumed that they stem from a double tradition built at the beginning of the fifth century BC when the Senate of Rome and Aristodemus of Cumae are opponents in a public process for the allocation of the legacy of Tarquinius Superbus, the parties would, therefore, used genealogical reconstructions opposed to each other because they refer to different mythical characters that legitimize their requests for allocation of this legacy.

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Books on the topic "Tanaquil"

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editor, Omelaniuk Irena, Markaz al-Imārāt lil-Dirāsāt wa-al-Buḥūth al-Istirātījīyah, and Markaz al-Imārāt lil-Dirāsāt wa-al-Buḥūth al-Istirātījīyah. Annual Conference Abū Ẓaby, United Arab Emirates, eds. Athar tanaqqul al-ʻamālah fī al-tanmīyah al-mustadāmah. Abū Ẓaby: Markaz al-Imārāt lil-Dirāsāt wa-al-Buḥūth al-Istirātījīyah, 2014.

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Bakhshūnī, Idrīsīyah. al-Naql wa-al-tanaqqul bi-Madīnat al-Dār al-Bayḍāʼ wa-nāḥiyatihā: Mā bayna 1907-1956 M. [Rabat?]: al-Mandūbīyah al-Sāmīyah li-Qudamāʼ al-Muqāwimīn wa-Aʻḍāʼ Jaysh al-Taḥrīr, 2017.

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Manṣūr, Aḥmad Jād. Fī dāʼirat ḥuqūq al-insān: Al-ḥimāyah al-qaḍāʼīyah li-ḥuqūq al-insān : ḥurrīyat al-tanaqqul wa-al-iqāmah fī al-qaḍāʼ ... [Cairo: s.n., 1997.

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Ḥasanī, Muḥammad ibn ʻAlī. al-Ḥajj fī al-ʻahd al-Hāshimī: Dirāsah wathāʼiqīyah ḥawla al-ḥajj wa-anẓimatih, al-rusūm wa-al-ḍarāʼib wa-asʻār al-ḥamlāt wa-al-tanaqqul bayna mudun al-Ḥijāz, 1334-1342 H/1916-1924 M. Bayrūt: al-Dār al-ʻArabīyah lil-Mawsūʻāt, 2020.

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Ḥurrīyat al-tanaqqul fī qaḍāʼ Majlis al-Dawlah: Munāzaʻāt jawazāt al-safar, munāzaʻāt al-manʻ min al-safar, munāzaʻār al-idrāj ʻalá qawāʼim al-mamnūʻīn min al-safar, munāzaʻāt al-idrāj ʻalá qawāʼim taraqqub al-wuṣūl, munāzaʻāt al-idrāj ʻalá qawāʼim al-irhāb wa-al-kayānāt al-irhābīyah, munāzaʻāt iqāmat al-ajānib wa-ibʻāduhum. al-Qāhirah: Dār al-Nahḍah al-ʻArabīyah, 2020.

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6

Protopopescu, Orel. Dancing Past the Light: The Life of Tanaquil le Clercq. University Press of Florida, 2021.

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Miano, Daniele. Archaic Rome. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786566.003.0004.

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This chapter concentrates on Fortuna in archaic Rome. The first part of the chapter is focused on historiography, and studies the connection between Fortuna, King Servius Tullius, and the story of Queen Tanaquil. It is argued that the connection between Servius and Fortuna might have been a late development in the literary tradition on early Rome. In modern historiography Queen Tanaquil is frequently identified with Fortuna, but this connection is not supported by ancient sources, and was first theorized by Bachofen in the nineteenth century. The second part of the chapter focuses on sanctuaries such as the temple of Fors Fortuna, that of Fortuna Muliebris, and that of Fortuna at the Forum Boarium, attempting to determine the significance and the meanings attributed to Fortuna in early Rome.

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Tanaquill. Akalle, 2010.

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Gillespie, Caitlin C. I Call Upon You, Andraste. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190609078.003.0007.

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Chapter 6 turns to Boudica as a religious figure, examining her role in divination and ritual. Boudica’s revolt has been interpreted as a reaction against the destruction of the center of Druidic worship at Mona (Anglesey). Dio’s Boudica is involved in two ritualistic moments during the revolt. As a diviner, she deserves praise and respect, like Livy’s Tanaquil or Tacitus’s Veleda. Her patron goddess, Andraste or Andate, is associated with victory and thus aligned with the meaning of Boudica’s name. Her actions after her initial victories and the sacrifice of female captives in particular are worthy of condemnation by Dio’s readership. The speech of Suetonius Paulinus guides readers toward this interpretation. Boudica’s death provides a third opportunity for ritual celebration.

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Fèvre, Tannegui Le. A Compendious way of Teaching the Learned Languages, and Some of the Liberal Sciences at the Same Time; us'd Formerly by Tanaquil Faber, in Teaching ... and the Famous Madam Dacier, his Daughter. Gale Ecco, Print Editions, 2018.

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Book chapters on the topic "Tanaquil"

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Meyers, Gretchen E. "Tanaquil." In A Companion to the Etruscans, 305–20. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781118354933.ch21.

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"Tanaquil." In Encyclopedia of Renaissance Philosophy, 3194. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-14169-5_310444.

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"Paul Tanaquil (1898–1972) Attitudes, 1921." In Firsts, 35–36. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300249644-015.

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"Paul Tanaquil (1898–1972) Attitudes, 1921." In Firsts, 35–36. Yale University Press, 2019. http://dx.doi.org/10.2307/j.ctvqc6g88.17.

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Hallett, Judith P., and Karen Klaiber Hersch. "Tanaquil and Tullia in Livy as Roman caricatures of Greek mythic and historic Hellenistic queens." In The Routledge Companion to Women and Monarchy in the Ancient Mediterranean World, 491–503. Routledge, 2020. http://dx.doi.org/10.4324/9780429434105-47.

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Philo, John-Mark. "Shakespeare’s Macbeth and Livy’s Legendary Rome." In An Ocean Untouched and Untried, 115–41. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857983.003.0006.

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Chapter 5 explores the influence exerted by Livy on Shakespeare’s Macbeth. Livy’s account of the early, legendary Rome makes itself felt in Macbeth in two distinct but complementary ways. When Hector Boece wrote his national history of Scotland, the Scotorum Historia (1527), he turned to Livy to fill the historical blanks in Scotland’s past. The Macbeth episode was no exception, and Boece modelled his Maccabeus closely on Livy’s Tarquin the Proud. Raphael Holinshed (c.1525–80?), relying on Boece’s Scotorum Historia, as well as its Scots translation by John Bellenden, for his Historie of Scotland, thereby incorporated these distinctly Livian elements into his own account of Macbeth’s reign. Shakespeare used Holinshed as his primary source for Macbeth and thus rehearsed a portrait of tyranny which was ultimately inspired by Livy’s Tarquin. The second means of transmission involves a new source for consideration: William Painter’s Second Tome of the Palace of Pleasure. By translating Livy for his novel the Two Roman Queenes, Painter highlighted the roles played by two female king-makers, Tanaquil and Tullia, in establishing and edifying the Tarquinian dynasty at Rome. It was Painter’s interpretation of Livy, this chapter argues, that alerted Shakespeare to the dramatically satisfying prospect of a wife who not only encourages her husband with an appeal to his masculinity, but readily participates in the crimes she would have her husband commit. There is more of ancient Rome to Shakespeare’s Scottish play, this chapter argues, than first meets the eye.

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Heyman, Barbara B. "Song Cycles." In Samuel Barber, 358–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0013.

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Back in America, Barber happily focused on composing songs. Drawn to Rainer Maria Rilke’s French poems, he created five songs, Mélodies passagères. When asked, he said that he composed in French because he had fallen in love with Paris. He sang excerpts of the cycle to his friend, composer Francis Poulenc, who confirmed the accuracy of the prosody and admired the songs so much he premiered them in Paris with Pierre Bernac in 1952, which Barber attended as he was there for a meeting of the International Music Council. In 1952, Barber received a commission from the Ballet Society to orchestrate some piano duets he had composed, inspired by his childhood trips to the Palm Court in New York’s Plaza Hotel. Completed in Ireland, the ballet, Souvenirs, included a waltz, schottische, tango, pas de deux, and two-step; it was choreographed and performed by Balanchine, who danced with Nora Kaye, Jerome Robbins, and Tanaquil LeClercq. His love affair with Irish poetry also blossomed during this time, inspiring his most famous song cycle, Hermit Songs, settings of ten poems by Irish monks inscribed on the corners of manuscripts. The cycle was premiered in the Coolidge Auditorium at the Library of Congress by Leontyne Price, with Barber at the piano. This chapter concludes with discussion of Barber’s one-movement orchestral work, Adventure, a television collaboration between CBS and the Museum of Natural History, which is scored for a mixture of recognizable Western instruments and non-Western instruments.

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