198,924 research outputs found
Caesar Kleberg Tracks
No full textBiannual newsletter of the Caesar Kleberg Wildlife Research Institute documenting progress on various research projects, news, and other information of interest to subscribers
Caesar Kleberg Tracks
No full textBiannual newsletter of the Caesar Kleberg Wildlife Research Institute documenting progress on various research projects, news, and other information of interest to subscribers
Caesar Kleberg Tracks
No full textBiannual newsletter of the Caesar Kleberg Wildlife Research Institute documenting progress on various research projects, news, and other information of interest to subscribers
Caesar Kleberg Tracks
No full textBiannual newsletter of the Caesar Kleberg Wildlife Research Institute documenting progress on various research projects, news, and other information of interest to subscribers
Caesar Kleberg Tracks
No full textBiannual newsletter of the Caesar Kleberg Wildlife Research Institute documenting progress on various research projects, news, and other information of interest to subscribers
Report of Current Research: September 1 2010 to August 31, 2011, Caesar Kleberg Wildlife Research Institute
No full textAnnual report of the Caesar Kleberg Wildlife Research Institute discussing the institute's personnel and finances as well as compiled papers summarizing in-progress and completed research, with biographical information about authors and in-press publications
Mantegna. The Triumph of Caesar. - ACE038.3
No full textTHE TROPHY BEARERS: Mantegna’s source would have been descriptions from authors such as Plutarch. Details. THE MUSICIANS: Commentary points out the heads representing the towns and cities captured by Caesar in his campaigns, and says that Mantegna was creating the "spirit of a triumph" rather than its reality. CAESAR ON HIS CHARIOT: A badly damaged painting but one which demonstrates both Mantegna’s vision and his skilful technique. Panning shots of the different paintings in the series giving the idea of a moving procession. Details from the paintings. Music over. Commentary points out the "M" that appears on the rump of Caesar’s horse. Bust of Mantegna. ANDREA MANTEGNA 1431-1506. Credits
Mantegna. The Triumph of Caesar.
No full textCaption: "Ill. Lodovico II M.M. Principi Optimo ac Fide Invictissimo et Ill. Barbarae Eius Coniugi Mulierum Glor. Incomparabili, Suus Andreas Mantinia Patauus Opus Hoc Tenue ad Eoru Decus Absolvit Anno MCCCCLXXIIII." Details from The Gonzaga Family and Retinue fresco (1465-1474, in the Camera degli Sposi ) showing Ludovico Gonzaga and his wife, Barbara, with VO translating the Latin. More of the painting showing family, courtiers and servants. The palazzo of San Sebastiano at Mantua. VO quotes from Italian historian, Giorgio Vasari, on Andrea Mantegna’s commission by Ludovico for a painting on the triumphs of Caesar. Commentary says that the paintings were not well cared for and were eventually sold, along with many others, to King Charles I of England. Hampton Court, where the paintings have been since 1629. THE PICTURE BEARERS: Details from this panel which Mantegna mostly painted himself. Commentary says that the pictures were over-painted in oils by Louis Laguerre around 1700. Three further restorations saved the loose paint but dulled the colours. The most recent restoration, by John Brealey, has revealed a good deal of the original work. THE TRIUMPHAL CAR: Commentary explains that the series was intended to represent a procession. Details. Commentary suggests that some of this section has an affinity with Cubism. THE LITTER BEARERS: Further quotation from Vasari describing the perspective of this panel. Details of the painting. THE VASE BEARER: One of the best preserved of the canvases. Details, some of which are reminiscent of Breughel. THE ELEPHANTS: Commentary points out that Mantegna had probably never seen a live elephant, so the painting shows a lively imagination rather than anatomical accuracy. An anecdote concerning Mantegna visiting Lake Garda.THE TROPHY BEARERS: Mantegna’s source would have been descriptions from authors such as Plutarch. Details. THE MUSICIANS: Commentary points out the heads representing the towns and cities captured by Caesar in his campaigns, and says that Mantegna was creating the "spirit of a triumph" rather than its reality. CAESAR ON HIS CHARIOT: A badly damaged painting but one which demonstrates both Mantegna’s vision and his skilful technique. Panning shots of the different paintings in the series giving the idea of a moving procession. Details from the paintings. Music over. Commentary points out the "M" that appears on the rump of Caesar’s horse. Bust of Mantegna. ANDREA MANTEGNA 1431-1506. Credits
After the daggers : politics and persuasion after the assassination of Caesar
No full textIn this thesis, I examine the nature and role of persuasion in Roman politics in the period immediately following the assassination of Caesar on the Ides of March 44 B.C. until the capture of the city of Rome by his heir Octavianus in August 43 B.C. The purpose of my thesis is to assess the extent to which persuasion played a critical role in political interactions and in the decision-making processes of those involved during this crucial period in Roman history. I do this by means of a careful discussion and analysis of a variety of different types of political interactions, both public and private. As regards the means of persuasion, I concentrate on the role and use of oratory in these political interactions. Consequently, my thesis owes much in terms of approach to the work of Millar (1998) and, more recently, Morstein-Marx (2004) on placing oratory at the centre of our understanding of how politics functioned in practice in the late Roman republic. Their studies, however, focus on the potential extent and significance of mass participation in the late Roman republican political system, and on the contio as the key locus of political interaction. In my thesis, I contribute to improving our new way of understanding late Roman republican politics by taking a broader approach that incorporates other types of political interactions in which oratory played a significant role. I also examine oratory as but one of a variety of means of persuasion in Roman political interactions. Finally, in analyzing politics and persuasion in the period immediately after Caesar’s assassination, I am examining not only a crucial period in Roman history, but one which is perhaps the best documented from the ancient world. The relative richness of contemporary evidence for this period calls out for the sort of close reading of sources and detailed analysis that I provide in my thesis that enables a better understanding of how politics actually played out in the late Roman republic
(Review) Caesar in Gaul and Rome: War in Words
No full text“[Andrew M. Riggsby has written] . . . an insightful monograph on the Caesarian portion of the BG [De bello Gallico]. The result will prove useful not only to those interested in Caesar, but also to scholars whose work focuses on the nature of Roman imperialism and ancient ethnography. . . . Caesar in Gaul and Rome demonstrates its author\u27s familiarity with contemporary theoretical perspectives (postcolonialism, semiotics, etc.), yet never seems dogmatic or arcane. [The author] may not single-handedly reverse [negative] scholarly attitudes toward Caesar\u27s commentarii, but his work goes a long way toward demonstrating what can be gleaned from a text normally—and unfortunately—reserved for novice students of Latin.
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