Literatura académica sobre el tema "Scholars – greece – biography"

To speak about Miltiades V. Hatzopoulos is to do it of one of the greatest remaining scholars not only of Alexander the Great, but also of a region of his homeland: Macedonia. This Athenian, born in 1944, is one of the last representatives of a disappearing class of researcher. His commitment to the history of his people is reflected in his articles and books, but also in his own biography. Although he has been deeply influenced by French culture, Hatzopoulos has had no homeland other than Greece. He is a clear exponent of that famous phrase of Giorgos Seferis (1900-1971): “Όπου και να ταξιδέψω η Ελλάδα με πληγώνει” (“Wherever I go Greece stabs me so”). You may or may not agree with the ideas and theories of our interviewee, but no one can deny that Miltiades V. Hatzopoulos is an essential author in our field.

Edgar Allan Poe's “Berenice” has been investigated from a number of different perspectives and, over the years, scholars have particularly connected this story to Poe's biography. Furthermore, Poe's choice to name his main protagonist Egaeus, fact which may indicate a Hellenic influence on the author's literary production, has not been overlooked. However, even in meticulous studies such as Silverman's (1992) one can observe that Poe's engagement with the Hellenic past in “Berenice” has not been examined in depth. The present paper aims to delineate Hellenic allusions that are apparent in the tale, offering an additional connection between Poe's narrative and ancient Greece which has not been sufficiently emphasized by relevant literature in this field of Poe studies.

<p>With the exception of a biographical entry on Adamantios Korais (1748-1833) published in 1836 by the Hellenist G. R. L. de Sinner in Paris and of a university discourse by Professor Pericles Argyropoulos, published in 1850 in Athens, scholars and intellectuals in the newly founded kingdom of Greece had not included Korais among their research priorities. Eventually the academic foundations of research on Korais would be laid in the decade 1871-80. The Chiot merchants of Marseille in collaboration with a corresponding committee in Athens planned, among other manifestations honouring their compatriot Korais, the publication of his unpublished writings and his correspondence. The year 1881 saw the inauguration of the series <em>Posthumously found writings</em> with a volume edited by A. Mamoukas, who included a long biographical introduction. In 1885-6 Korais' correspondence was published by Professor N. Damalas. Earlier, in 1877, in Paris from among the ranks of the "Association pour l'encouragement des études grecques en France", neohellenists Brunet de Presle and the Marquis de Queux de Saint-Hilaire had published Korais' correspondence with the classicist Chardon de la Rochette during the French Revolution and with a number of other distinguished French philologists. In a separate edition they published his correspondence with the Swiss philosopher P. Prevost, and Queux de Saint-Hilaire translated and published in French in 1880 Korais' correspondence with the Precentor of Smyrna D. Lotos during the Revolutionary period. In 1889-90 the Greek journalist in Trieste, D. Therianos, published a three-volume biography of Korais, which represents the most important milestone in Korais studies during the nineteenth century. Among more partial approaches to Korais' life and work after Therianos, mention should be made of a critical study in 1903 by the diplomat scholar I. Gennadios, who called Damalas' edition of Korais' correspondence a shame for Greek letters. Although it was too early for nineteenth century authors to see Korais in the perspective of the European Enlightenment, they nevertheless have left important general synthetic works and prepared the ground for subsequent fuller editions of his correspondence.</p>

In the new issue, our scientific journal offers you thirteen scientific articles. As always, we try to offer a wide variety of topics and areas and follow current trends in the history of science and technology. In the article by Olha Chumachenko, оn the basis of a wide base of sources, the article highlights and analyzes the development of research work of aircraft engine companies in Zaporizhzhia during the 1970s. The existence of a single system of functioning of the Zaporizhzhia production association “Motorobudivnyk” (now the Public Joint Stock Company “Motor Sich”) and the Zaporizhzhia Machine-Building Design Bureau “Progress” (now the State Enterprise “Ivchenko – Progress”) has been taken into account. Leonid Griffen and Nadiia Ryzheva present their vision of the essence of technology as a socio-historical phenomenon. The article reveals the authors' vision of the essence of the technology as a sociohistorical phenomenon. It is based on the idea that technology is not only a set of technical devices but a segment of the general system – a society – located between a social medium and its natural surroundings in the form of a peculiar social technosphere, which simultaneously separates and connects them. Definitely the article by Denis Kislov, which examines the period from the end of the XVII century to the beginning of the XIX century, is also of interest, when on the basis of deep philosophical concepts, a new vision of the development of statehood and human values raised. At this time, a certain re-thinking of the management and communication ideas of Antiquity and the Renaissance took place, which outlined the main promising trends in the statehood evolution, which to one degree or another were embodied in practice in the 19th and 20th centuries. A systematic approach and a comparative analysis of the causes and consequences of those years’ achievements for the present and the immediate future of the 21st century served as the methodological basis for a comprehensive review of the studies of that period. The article by Serhii Paliienko is devoted to an exploration of archaeological theory issues at the Institute of archaeology AS UkrSSR in the 1960s. This period is one of the worst studied in the history of Soviet archaeology. But it was the time when in the USSR archaeological researches reached the summit, quantitative methods and methods of natural sciences were applied and interest in theoretical issues had grown in archaeology. Now there are a lot of publications dedicated to theoretical discussions between archaeologists from Leningrad but the same researches about Kyiv scholars are still unknown The legacy of St. Luke in medical science, authors from Greece - this study aims to highlight key elements of the life of Valentyn Feliksovych Voino-Yasenetskyi and his scientific contribution to medicine. Among the scientists of European greatness, who at the turn of the XIX and XX centuries showed interest to the folklore of Galicia (Halychyna) and Galician Ukrainians, contributed to their national and cultural revival, one of the leading places is occupied by the outstanding Ukrainian scientist Ivan Verkhratskyi. He was both naturalist and philologist, as well as folklorist and ethnographer, organizer of scientific work, publisher and popularizer of Ukrainian literature, translator, publicist and famous public figure. I. H. Verkhratskyi was also an outstanding researcher of plants and animals of Eastern Galicia, a connoisseur of insects, especially butterflies, the author of the first school textbooks on natural science written in Ukrainian. A new emerging field that has seen the application of the drone technology is the healthcare sector. Over the years, the health sector has increasingly relied on the device for timely transportation of essential articles across the globe. Since its introduction in health, scholars have attempted to address the impact of drones on healthcare across Africa and the world at large. Among other things, it has been reported by scholars that the device has the ability to overcome the menace of weather constraints, inadequate personnel and inaccessible roads within the healthcare sector. This notwithstanding, data on drones and drone application in Ghana and her healthcare sector in particular appears to be little within the drone literature. Also, little attempt has been made by scholars to highlight the use of drones in African countries. By using a narrative review approach, the current study attempts to address the gap above. By this approach, a thorough literature search was performed to locate and assess scientific materials involving the application of drones in the military field and in the medical systems of Africans and Ghanaians in particular. The paper by Artemii Bernatskyi and Vladyslav Khaskin is devoted to the analysis of the history of the laser creation as one of the greatest technical inventions of the 20th century. This paper focuses on establishing a relation between the periodization of the stages of creation and implementation of certain types of lasers, with their influence on the invention of certain types of equipment and industrial technologies for processing the materials, the development of certain branches of the economy, and scientific-technological progress as a whole. The paper discusses the stages of: invention of the first laser; creation of the first commercial lasers; development of the first applications of lasers in industrial technologies for processing the materials. Special attention is paid to the “patent wars” that accompanied different stages of the creation of lasers. A comparative analysis of the market development for laser technology from the stage of creation to the present has been carried out. Nineteenth-century world exhibitions were platforms to demonstrate technical and technological changes that witnessed the modernization and industrialization of the world. World exhibitions have contributed to the promotion of new inventions and the popularization of already known, as well as the emergence of art objects of world importance. One of the most important world events at the turn of the century was the 1900 World's Fair in Paris. Thus, the author has tried to analyze the participation of representatives of the sugar industry in the World's Fair in 1900 and to define the role of exhibitions as indicators of economic development, to show the importance and influence of private entrepreneurs, especially from Ukraine, on the sugar industry and international contacts. The article by Viktor Verhunov highlights the life and creative path of the outstanding domestic scientist, theorist, methodologist and practitioner of agricultural engineering K. G. Schindler, associated with the formation of agricultural mechanics in Ukraine. The methodological foundation of the research is the principles of historicism, scientific nature and objectivity in reproducing the phenomena of the past based on the complex use of general scientific, special, interdisciplinary methods. For the first time a number of documents from Russian and Ukrainian archives, which reflect some facts of the professional biography of the scientist, were introduced into scientific circulation. The authors from Kremenchuk National University named after Mykhailo Ostrohradskyi presented a fascinating study of a bayonet fragment with severe damages of metal found in the city Kremenchuk (Ukraine) in one of the canals on the outskirts of the city, near the Dnipro River. Theoretical research to study blade weapons of the World War I period and the typology of the bayonets of that period, which made it possible to put forward an assumption about the possible identification of the object as a modified bayonet to the Mauser rifle has been carried out. Metal science expert examination was based on X-ray fluorescence spectrometry to determine the concentration of elements in the sample from the cleaned part of the blade. In the article by Mykola Ruban and Vadym Ponomarenko on the basis of the complex analysis of sources and scientific literature the attempt to investigate historical circumstances of development and construction of shunting electric locomotives at the Dnipropetrovsk electric locomotive plant has been made. The next scientific article continues the series of publications devoted to the assessment of activities of the heads of the Ministry of Railways of the Russian Empire. In this article, the authors have attempted to systematize and analyze historical data on the activities of Klavdii Semyonovych Nemeshaev as the Minister of Railways of the Russian Empire. The article also assesses the development and construction of railway network in the Russian Empire during Nemeshaev's office, in particular, of the Amur Line and Moscow Encircle Railway, as well as the increase in the capacity of the Trans-Siberian Railway. The article discusses K. S. Nemeshaev's contribution to the development of technology and the introduction of a new type of freight steam locomotive for state-owned railways. We hope that everyone will find interesting useful information in the new issue. And, of course, we welcome your new submissions.

It is well known that in his later years Graham Greene spent several summer holidays travelling around Spain and Portugal in the company of his friend Leopoldo Durán, a Galician scholar and Catholic priest. Starting in the summer of 1976, these yearly holidays consolidated their mutual friendship and provided inspiration for Greene’s novel Monsignor Quixote (1982), which features several discussions on faith and belief based on their long chats and confessions. During these travels Durán got to know Greene very well and became one of his closest companions in the last stages of his life, and even accompanied him at his deathbed and administered the last sacraments to him.Considering Durán’s influence and how this friendship was forged mostly throughout the various Iberian journeys it is remarkable to note how few particulars about them are given in Norman Sherry’s third biographical volume, covering from 1955 to 1991. The official biographer has conducted no further research other than a few occasional references to Durán’s memoir, Graham Greene, Friend and Brother (1994), which is the closest we get to a narrative of the trips. However, even this unique source declines to give a full chronological account of them and remains quite obscure in many respects. It is not only that the author offers a highly subjective and occasionally biased account of their “summer jaunts”; so far there exists no written account, either by Durán or by any other biographers, of the number, duration, stages or dates of Greene’s Iberian trips. Therefore, this paper sets out to fill in this gap and to provide a reference framework for future research on this fascinating period of Greene’s life.Keywords: Graham Greene, Leopoldo Durán, Monsignor Quixote, Spain and Portugal, Murrieta wine.

Elizabeth Wilmot, Countess of Rochester, is best known to most modern readers as the woman John Wilmot, Earl of Rochester, abducted and later wed. As Samuel Pepys memorably records in his diary entry for 28 May 1665:Thence to my Lady Sandwich’s, where, to my shame, I had not been a great while before. Here, upon my telling her a story of my Lord Rochester’s running away on Friday night last with Mrs Mallet, the great beauty and fortune of the North, who had supped at Whitehall with Mrs Stewart, and was going home to her lodgings with her grandfather, my Lord Haly, by coach; and was at Charing Cross seized on by both horse and footmen, and forcibly taken from him, and put into a coach with six horses, and two women provided to receive her, and carried away. Upon immediate pursuit, my Lord of Rochester (for whom the King had spoke to the lady often, but with no success) was taken at Uxbridge; but the lady is not yet heard of, and the King mighty angry and the Lord sent to the Tower. (http://www.pepysdiary.com/)Here Pepys provides an anecdote that offers what Helen Deutsch has described in another context as “the elusive possibility of truth embodied by ‘things in themselves,’ by the things, that is, preserved in anecdotal form” (28). Pepys’s diary entry yields up an “elusive possibility” of embodied truth; his version of Wilmot’s abduction solidifies what he perceives to be the most notable features of her identity: her beauty, her wealth, and her sexual trajectory.Pepys’s conclusion that “the lady is not yet heard of” complicates this idea of anecdotal preservation, for he neatly ties up his story of Wilmot’s body by erasing her from it: she is removed, voiceless and disembodied, from even this anecdote of her own abduction. Pepys’s double maneuver demonstrates the complex set of interactions surrounding the preservation of early modern women’s sexual and textual selves. Written into Pepys’s diary and writing in conversation with her husband, Wilmot has generally been treated as a subordinate historical and literary figure—a character rather than an agent or an author. The richness of Wilmot’s own writing has been largely ignored; her manuscript poetry has been treated as an artefact and a source of autobiographical material, whereas Rochester’s poetry—itself teeming with autobiographical details, references to material culture, and ephemera—is recognised and esteemed as literary. Rochester’s work provides a tremendous resource, a window through which we can read and re-read his wife’s work in ways that enlighten and open up readings rather than closing them down, and her works similarly complicate his writings.By looking at Wilmot as a case study, I would like to draw attention to some of the continued dilemmas that scholars face when we attempt to recover early modern women’s writing. With this study, I will focus on distinct features of Wilmot’s sexual and textual identity. I will consider assumptions about female docility; the politics and poetics of erotic espionage; and Wilmot’s construction of fugitive desires in her poetry. Like the writings of many early modern women, Wilmot’s manuscript poetry challenges assumptions about the intersections of gender, sexuality, and authorship. Early Modern Women’s Docile Bodies?As the entry from Pepys’s diary suggests, Wilmot has been constructed as a docile female body—she is rendered “ideal” according to a set of gendered practices by which “inferior status has been inscribed” on her body (Bartky 139). Contrasting Pepys’s references to Wilmot’s beauty and marriageability with Wilmot’s own vivid descriptions of sexual desire highlights Wilmot’s tactical awareness and deployment of her inscribed form. In one of her manuscript poems, she writes:Nothing ades to Loves fond fireMore than scorn and cold disdainI to cherish your desirekindness used but twas in vainyou insulted on your SlaveTo be mine you soon refusedHope hope not then the power to haveWhich ingloriously you used. (230)This poem yields up a wealth of autobiographical information and provides glimpses into Wilmot’s psychology. Rochester spent much of his married life having affairs with women and men, and Wilmot represents herself as embodying her devotion to her husband even as he rejects her. In a recent blog entry about Wilmot’s poetry, Ellen Moody suggests that Wilmot “must maintain her invulnerable guard or will be hurt; the mores damn her whatever she does.” Interpretations of Wilmot’s verse typically overlay such sentiments on her words: she is damned by social mores, forced to configure her body and desire according to rigorous social codes that expect women to be pure and inviolable yet also accessible to their lovers and “invulnerable” to the pain produced by infidelity. Such interpretations, however, deny Wilmot the textual and sexual agency accorded to Rochester, begging the question of whether or not we have moved beyond reading women’s writing as essential, natural, and embodied. Thus while these lines might in fact yield up insights into Wilmot’s psychosocial and sexual identities, we continue to marginalise her writing and by extension her author-self if we insist on taking her words at face value. Compare, for example, Wilmot’s verse to the following song by her contemporary Aphra Behn:Love in Fantastique Triumph satt,Whilst Bleeding Hearts a round him flow’d,For whom Fresh paines he did Create,And strange Tyranick power he show’d;From thy Bright Eyes he took his fire,Which round about, in sports he hurl’d;But ’twas from mine, he took desire,Enough to undo the Amorous World. (53) This poem, which first appeared in Behn’s tragedy Abdelazer (1677) and was later printed in Poems upon Several Occasions (1684), was one of Behn’s most popular lyric verses. In the 1920s and 1930s Ernest Bernbaum, Montague Summers, Edmund Gosse, and others mined Behn’s works for autobiographical details and suggested that such historical details were all that her works offered—a trend that continued, disturbingly, into the later half of the twentieth century. Since the 1980s, Paula R. Backscheider, Ros Ballaster, Catherine Gallagher, Robert Markley, Paul Salzman, Jane Spencer, and Janet Todd have shown that Behn’s works are not simple autobiographical documents; they are the carefully crafted productions of a literary professional. Even though Behn’s song evokes a masochistic relationship between lover and beloved much like Wilmot’s song, critics treat “Love Arm’d” as a literary work rather than a literal transcription of female desire. Of course there are material differences between Wilmot’s song and Behn’s “Love Arm’d,” the most notable of which involves Behn’s self-conscious professionalism and her poem’s entrenchment in the structures of performance and print culture. But as scholars including Kathryn King and Margaret J. M. Ezell have begun to suggest, print publication was not the only way for writers to produce and circulate literary texts. King has demonstrated the ways in which female authors of manuscripts were producing social texts (563), and Ezell has shown that “collapsing ‘public’ into ‘publication’” leads modern readers to “overlook the importance of the social function of literature for women as well as men” (39). Wilmot’s poems did not go through the same material, ideological, and commercial processes as Behn’s poems did, but they participated in a social and cultural network of exchange that operated according to its own rules and that, significantly, was the same network that Rochester himself used for the circulation of his verses. Wilmot’s writings constitute about half of the manuscript Portland PwV 31, held by Hallward Library, University of Nottingham—a manuscript catalogued in the Perdita Project but lacking a description and biographical note. Teresa D. Kemp has discussed the impact of the Perdita Project on the study of early modern women’s writing in Feminist Teacher, and Jill Seal Millman and Elizabeth Clarke (both of whom are involved with the project) have also written articles about the usability of the database. Like many of the women writers catalogued by the Perdita Project, Wilmot lacks her own entry in the Dictionary of National Biography and is instead relegated to the periphery in Rochester’s entry.The nineteen-page folio includes poems by both Rochester and Wilmot. The first eight poems are autograph manuscript poems by Rochester, and a scene from a manuscript play ‘Scaene 1st, Mr. Daynty’s chamber’ is also included. The remaining poems, excluding one without attribution, are by Wilmot and are identified on the finding aid as follows:Autograph MS poem, entitled ‘Song’, by Elizabeth WilmotAutograph MS poem, entitled ‘Song’, by Elizabeth WilmotAutograph MS poem, entitled ‘Song’, by Elizabeth WilmotMS poem, untitled, not ascribed Autograph MS poem, entitled ‘Song’, by Elizabeth WilmotAutograph MS poem, untitled, by Elizabeth WilmotAutograph MS poem, untitled, by Elizabeth WilmotAutograph MS poem, untitled, by Elizabeth Wilmot Autograph MS poem, untitled, by Elizabeth WilmotTwo of the songs (including the lyric quoted above) have been published in Kissing the Rod with the disclaimer that marks of revision reveal that “Lady Rochester was not serving as an amanuensis for her husband” yet the editors maintain that “some sort of literary collaboration cannot be ruled out” (230), implying that Rochester helped his wife write her poetry. Establishing a non-hierarchical strategy for reading women’s collaborative manuscript writing here seems necessary. Unlike Behn, who produced works in manuscript and in print and whose maximization of the slippages between these modes has recently been analyzed by Anne Russell, Wilmot and Rochester both wrote primarily in manuscript. Yet only Rochester’s writings have been accorded literary status by historians of the book and of manuscript theory such as Harold Love and Arthur Marotti. Even though John Wilders notes that Rochester’s earliest poems were dialogues written with his wife, the literariness of her contributions is often undercut. Wilders offers a helpful suggestion that the dialogues set up by these poems helps “hint … at further complexities in the other” (51), but the complexities are identified as sexual rather than textual. Further, the poems are treated as responses to Rochester rather than conversations with him. Readers like Moody, moreover, draw reflections of marital psychology from Wilmot’s poems instead of considering their polysemic qualities and other literary traits. Instead of approaching the lines quoted above from Wilmot’s song as indications of her erotic and conjugal desire for her husband, we can consider her confident deployment of metaphysical conceits, her careful rhymes, and her visceral imagery. Furthermore, we can locate ways in which Wilmot and Rochester use the device of the answer poem to build a complex dialogue rather than a hierarchical relationship in which one voice dominates the other. The poems comprising Portland PwV 31 are written in two hands and two voices; they complement one another, but neither contains or controls the other. Despite the fact that David Farley-Hills dismissively calls this an “‘answer’ to this poem written in Lady Rochester’s handwriting” (29), the verses coexist in playful exchange textually as well as sexually. Erotic Exchange, Erotic EspionageBut does a reorientation of literary criticism away from Wilmot’s body and towards her body of verse necessarily entail a loss of her sexual and artefactual identity? Along with the account from Pepys’s diary mentioned at the outset of this study, letters from Rochester to his wife survive that provide a prosaic account of the couple’s married life. For instance, Rochester writes to her: “I love not myself as much as you do” (quoted in Green 159). Letters from Rochester to his wife typically showcase his playfulness, wit, and ribaldry (in one letter, he berates the artist responsible for two miniatures of Wilmot in strokes that are humorous yet also charged with a satire that borders on invective). The couple’s relationship was beleaguered by the doubts, infidelities, and sexual double standards that an autobiographical reading of Wilmot’s songs yields up, therefore it seems as counterproductive for feminist literary theory, criticism, and recovery work to entirely dispense with the autobiographical readings as it seems reductive to entirely rely on them. When approaching works like these manuscript poems, then, I propose using a model of erotic exchange and erotic espionage in tandem with more text-bound modes of literary criticism. To make this maneuver, we might begin by considering Gayle Rubin’s proposition that “If women are the gifts, then it is men who are the exchange partners. And it is the partners, not the presents, upon whom reciprocal exchange confers its quasi-mystical power of social linkage” (398). Wilmot’s poetry relentlessly unsettles the binary set up between partner and present, thereby demanding a more pluralistic identification of sexual and textual economies. Wilmot constructs Rochester as absent (“Thats caused by absence norished by despaire”), which is an explicit inversion of the gendered terms stereotypically deployed in poetry (the absent woman in works by Rochester as well as later satirists like Jonathan Swift and Alexander Pope often catalyzes sexual desire) that also registers Wilmot’s autobiographical contexts. She was, during most of her married life, living with his mother, her own mother, and Rochester’s nieces in his house at Adderbury while he stayed in London. The desire in Wilmot’s poetry is textualised as much as it is sexualised; weaving this doublebraid of desires and designs together ultimately provides the most complete interpretation of the verses. I read the verses as offering a literary form of erotic espionage in which Wilmot serves simultaneously as erotic object and author. That is, she both is and is not the Cloris of her (and Rochester’s) poetry, capable of looking on and authorizing her desired and desiring body. The lyric in which Wilmot writes “He would return the fugitive with Shame” provides the clearest example of the interpretive tactic that I am proposing. The line, from Wilmot’s song “Cloris misfortunes that can be exprest,” refers to the deity of Love in its complete context:Such conquering charmes contribute to my chainAnd ade fresh torments to my lingering painThat could blind Love juge of my faithful flameHe would return the fugitive with ShameFor having bin insenceable to loveThat does by constancy it merritt prove. (232)The speaker of the poem invokes Cupid and calls on “blind Love” to judge “my faithful flame.” The beloved would then be returned “fugitive with Shame” because “blind Love” would have weighed the lover’s passion and the beloved’s insensibility. Interestingly, the gender of the beloved and the lover are not marked in this poem. Only Cupid is marked as male. Although the lover is hypothetically associated with femaleness in the final stanza (“She that calls not reason to her aid / Deserves the punishmentt”), the ascription could as easily be gendering the trait of irrationality as gendering the subject/author of the poem. Desire, complaint, and power circulate in the song in a manner that lacks clear reference; the reader receives glimpses into an erotic world that is far more ornately literary than it is material. That is, reading the poem makes one aware of tropes of power and desire, whereas actual bodies recede into the margins of the text—identifiable because of the author’s handwriting, not a uniquely female perspective on sexuality or (contrary to Moody’s interpretation) a specifically feminine acquiescence to gender norms. Strategies for Reading a Body of VerseWilmot’s poetry participates in what might be described as two distinct poetic and political modes. On one hand, her writing reproduces textual expectations about Restoration answer poems, songs and lyrics, and romantic verses. She crafts poetry that corresponds to the same textual conventions that men like Rochester, John Dryden, Abraham Cowley, and William Cavendish utilised when they wrote in manuscript. For Wilmot, as for her male contemporaries, such manuscript writing would have been socially circulated; at the same time, the manuscript documents had a fluidity that was less common in print texts. Dryden and Behn’s published writings, for instance, often had a more literary context (“Love Arm’d” refers to Abdelazer, not to Behn’s sexual identity), whereas manuscript writing often referred to coteries of readers and writers, friends and lovers.As part of the volatile world of manuscript writing, Wilmot’s poetry also highlights her embodied erotic relationships. But over-reading—or only reading—the poetry as depicting a conjugal erotics limits our ability to recover Wilmot as an author and an agent. Feminist recovery work has opened many new tactics for incorporating women’s writing into existing literary canons; it has also helped us imagine ways of including female domestic work, sexuality, and other embodied forms into our understanding of early modern culture. By drawing together literary recovery work with a more material interest in recuperating women’s sexual bodies, we should begin to recuperate women like Wilmot not simply as authors or bodies but as both. The oscillations between the sexual and textual body in Wilmot’s poetry, and in our assessments of her life and writings, should help us approach her works (like the works of Rochester) as possessing a three-dimensionality that they have long been denied. ReferencesBartky, Sandra Lee. “Foucault, Femininity, and the Modernization of Patriarchal Power.” In Writing on the Body: Female Embodiment and Feminist Theory. Ed. Katie Conboy, Nadia Medina, and Sarah Stanbury. New York: Columbia University Press, 1997. 129-54.Behn, Aphra. “Song. Love Arm’d.” The Works of Aphra Behn. Volume 1: Poetry. Ed. Janet Todd. London: William Pickering, 1992. 53.Clarke, Elizabeth. “Introducing Hester Pulter and the Perdita Project.” Literature Compass 2.1 (2005). ‹http://www.blackwell-compass.com/subject/literature/article_view?article_id=lico_articles_bsl159›. Deutsch, Helen. Loving Doctor Johnson. Chicago: University of Chicago Press, 2005.Diamond, Irene, Ed. Feminism and Foucault: Reflections on Resistance. Boston: Northeastern University Press, 1988.Ezell, Margaret J. M. Social Authorship and the Advent of Print. Baltimore: Johns Hopkins University Press, 1999.Farley-Hill, David. Rochester’s Poetry. Totowa: Rowman and Littlefield, 1978. Greene, Graham. Lord Rochester’s Monkey. New York: Penguin, 1974. Greer, Germaine, Susan Hastings, Jeslyn Medoff, and Melinda Sansone, Ed. Kissing the Rod: An Anthology of Seventeenth-Century Women’s Verse. New York: Noonday Press, 1988. Kemp, Theresa D. “Early Women Writers.” Feminist Teacher 18.3 (2008): 234-39.King, Kathryn. “Jane Barker, Poetical Recreations, and the Sociable Text.” ELH 61 (1994): 551-70.Love, Harold, and Arthur F. Marotti. "Manuscript Transmission and Circulation." The Cambridge History of Early Modern English Literature. Cambridge, England: Cambridge University Press, 2002. 55-80. Love, Harold. "Systemizing Sigla." English Manuscript Studies 1100-1700. 11 (2002): 217-230. Marotti, Arthur F. "Shakespeare's Sonnets and the Manuscript Circulation of Texts in Early Modern England." A Companion to Shakespeare's Sonnets. Oxford: Blackwell, 2007. 185-203.McNay, Lois. Foucault And Feminism: Power, Gender, and the Self. Boston: Northeastern, 1992.Moody, Ellen. “Elizabeth Wilmot (neé Mallet), Countess of Rochester, Another Woman Poet.” Blog entry 16 March 2006. 11 Nov. 2008 ‹http://server4.moody.cx/index.php?id=400›. Pepys, Samuel. The Diary of Samuel Pepys. 23 Aug. 2008 ‹http://www.pepysdiary.com/archive/1665/05/28/index.php›. Rubin, Gayle. “The Traffic in Women: Notes on the ‘Political Economy’ of Sex.” Feminist Literary Theory and Criticism: A Norton Reader, ed. Sandra M. Gilbert and Susan Gubar, 392-413. New York: Norton, 2007.Russell, Anne. “Aphra Behn, Textual Communities, and Pastoral Sobriquets.” English Language Notes 40.4 (June 2003): 41-50.———. “'Public' and 'Private' in Aphra Behn's Miscellanies: Women Writers, Print, and Manuscript.” Write or Be Written: Early Modern Women Poets and Cultural Constraints. Ed. Barbara Smith and Ursula Appelt. Aldershot: Ashgate, 2001. 29-48. Sawicki, Jana. Disciplining Foucault: Feminism, Power and the Body. New York: Routledge, 1991.Seal, Jill. "The Perdita Project—A Winter's Report." Early Modern Literary Studies 6.3 (January, 2001): 10.1-14. ‹http://purl.oclc.org/emls/06-3/perdita.htm›.Wilders, John. “Rochester and the Metaphysicals.” In Spirit of Wit: Reconsiderations of Rochester. Ed. Jeremy Treglown. Hamden: Archon, 1982. 42-57.Wilmot, Elizabeth, Countess of Rochester. “Song” (“Nothing Ades to Love's Fond Fire”) and “Song” (“Cloris Misfortunes That Can Be Exprest”) in Kissing the Rod. 230-32.

This dissertation examines the different interpretations of the secondary sources for Alexander the Great by three modern historians, Nicholas Hammond, Peter Green and Mary Renault. The Introduction looks briefly at the lost primary Alexander-histories, the extant works of Diodorus Siculus, Quintus Curtius, Plutarch and Arrian and includes an abbreviated curriculum vltae of each modern author. Chapter X concerns modern interpretations of the controversial circumstances surrounding the accession of Alexander and the assassination of Philip. Chapter II covers the elimination of possible rivals, Attalus, Alexander Lyncestes and Amyntas son of Perdiccas, two major conspiracies - the Philotas Affair and the death of Parmenio, the conspiracy of the Royal Pages and death of Callisthenes - and the killing of Cleitus the Black. Chapter III deals with modern explanations of the death of Alexander. The Conclusion highlights significant theories and trends presented by the modern historians, which influence their interpretations of the ancient sources.
History
M.A. (Ancient History)

This concluding chapter discusses how the story of Alcibiades' life requires consulting both historical and literary texts. The honors bestowed on his tomb by the emperor Hadrian have served as the epilogue of Alcibiades' death. This is not surprising since Hadrian was known to be an admirer of Greek culture. Nor is it surprising that cultivated Romans knew about Alcibiades. They read Plato, the Greek historians, and later Plutarch. And in addition to the biography written by Cornelius Nepos, one encounters Alcibiades in all the scholars of the imperial age. After that, a heavy veil of silence fell. There is no mention of Alcibiades through the Middle Ages until the reappearance of Greek texts. The chapter then offers an analogy between Alcibiades' life and the unification of Europe. When one looks back at his life, the crisis in democracy is what is most striking and moving today.

Chapter 2 analyzes general patterns in the iconography and contexts of Nilotic imagery at Pompeii. A discussion of the “cultural biography” of Nilotic imagery positions these frescoes and mosaics within the broader context of Roman artistic emulation of earlier visual cultures. While Roman emulations of Greek material culture have traditionally attracted the most intense scholarly attention, this chapter argues for framing “Classicizing” art as part of a larger “retrospective” phenomenon that also included Roman adaptations of Egyptian objects and images. This chapter also provides a synthetic contextual analysis of Nilotic scenes at Pompeii, discussing the reasons for their frequent association with domestic gardens. Within gardens, Nilotic imagery is often associated with water features and installations for dining and drinking, producing an environment that mirrors many aspects of the scenes themselves. The context of the imagery thus provokes viewers to compare themselves to the figures it depicts.

Abstract The present study aims to make accessible a little-known Latin document, first published in 1603, which contains a lively account of the reading, writing, and editorial practice of a late-Renaissance poly–math, and sheds new light on contemporary authorship and publishing in France, Italy, Germany, Switzerland, and the Low Countries. Its author, Nicolas de Nancel (1539-1610), pupil, then colleague, secretary and biographer of Peter Ramus, was a prolific writer on a great variety of subjects, a university professor (or rather teacher) in Paris and Douai (1562-4), a scholar, a translator and editor of Greek texts (most of which appear to have been lost), a mathematician and writer of medical treatises, as well as being a practising doctor in Tours from 1569, and at Font evrault from 1587 to the royal abbess, Éléonore de Bourbon, and her community of nuns.

This chapter describes the main features of the content and structure of the Persica works as gathered in this study, and outlines Plutarch's method of employing these sources. Some of the features which can be attributed to the lost works used by Plutarch and to their authors were probably those that the biographer presumed to be common knowledge and regarded as information shared by his intended readers. The outcome of this study shatters the image of Plutarch as an author who largely copied his sources or echoed royal propaganda reflected in the Greek texts he used. In fact, some of the 'fragments' commonly regarded as such by scholars are not really fragments of the Persica works but rather sections which Plutarch composed himself, using several works while twisting them around, omitting and adding details. Drawing together the main strands of the book, this chapter presents a general argument concerning the manner Plutarch preserved ancient authors. Reiterating the aforementioned discussions on Plutarch's handling of the Persica works, the chapter suggests an outline of his work method in composing a Life by using the Artaxerxes as an example.

Abstract The assertion that the Apocryphal Acts were most like the ancient Greek novel, and shared their genre, purpose, and intended audience, has become common. The first problem with this designation, however, is that it raises more questions than it answers. The ancient novel, sometimes called the ancient romance, like our modem counterpart, agglutinates with other genres, preventing easy classification. Ancient novels incorporate letters, speeches, dramatic monologues, and topographical descriptions, such as those practiced in rhetorical instruction. The plots of the romantic novels derive from New Comedy, and the interest in travel and in the local color of exotic places can be found already, in prose, in Herodotos, and in the of Hekataios ofMiletos; the epic precursor is the Odyssey. Scholarly discussion still continues about the precise definition of the ancient novel and the delimitation of those works belonging to the category. Particularly vexing are those novelistic texts that have closer affinities to history or biography. Recourse to ancient literary theory brings little benefit, since the ancients neither had an exact analog to our modem concept, “novel,” nor do the texts that we now consider ancient novels even enter their theoretical discussions. The two references to them in ancient literature are nontechnical and disparaging.