1,721,102 research outputs found
Marsus legionis
No full textWe investigate the scope and function marsus, specifically in relation to the health service of
a Roman legion, III Augusta in Numidia. Moreover, it enhances an inscription at Ostia, dedicated
Mithraic, marsus mail from a civil and a step of the physician Galen around the name indicate
current marsus – origin regardless of the subject – specialized in the capture, manipulation, and
the use of snakes for therapeutic and pharmacologica
Punica / Petrus Marsus [Komm.]
Get PDFPUNICA / PETRUS MARSUS [KOMM.]
Punica / Petrus Marsus [Komm.] (1)
Titelblatt (1)
Sylvii Vita (3)
Belli punici ii. compendium (4)
Liber Primus (7)
Liber Secundus (30)
Liber Tertius (50)
Liber Quartus (72)
Liber Quintus (91)
Liber Sextus (106)
Liber Septimus (123)
Liber Octanus (140)
Liber Nonus (159)
Liber Decimus (174)
Liber Undecimus (190)
Liber Duodecimus (205)
Liber Tertiusdecimus (222)
Liber Quartusdecimus (242)
Liber Quintusdecimus (261)
Liber XVI. (280)
Liber XVII. (295)
Registrum (310)
Verlegermarke (311
Martial\u27s fiction : Domitius Marsus and Maecenas
No full textIn keeping with his « persona » of mendicant poet, Martial appropriates themes regarding Maecenas\u27 patronage that had begun to take shape in the previous generation (Calpurnius Siculus, ecl. 4, 158-163 ; Laus Pisonis 230-248). Martial (7, 29, 7-8 ; 8, 55 [56], 21-24) adds Domitius Marsus to the list of clients. In fact, no other evidence connects Domitius Marsus to Maecenas, though it is not surprising that Martial would fabricate a relationship between a patron of Roman literary talent and a pioneer of Latin epigram as a way of solidifying respectability for the genre of epigram
Atractides marsus Pesi
No full text<p> <b> <i>Atractides marsus</i> Peši</b> ć, <b>Smit & Gerecke, 2012: 61</b></p> <p>— Holotype female (RMNH), F135, dept. Cantal, Auvergne, River Le Mars at crossing with D12 upstream of Le Falgoux, France (45° 07'616"N, 2° 38'623"E)</p>Published as part of <i>LIU, DONG, YI, TIAN-CI, XU, YUN & ZHANG, ZHI-QIANG, 2013, new mite species described during 2007 to 2012 3663, pp. 1-102 in Zootaxa 3663 (1)</i> on page 57, DOI: 10.11646/zootaxa.3663.1.1, <a href="http://zenodo.org/record/5630595">http://zenodo.org/record/5630595</a>
«Vergilius non ero, Marsus ero»: la figura di Domizio Marso nell’opera di Marziale
Get PDFIl contributo si propone di indagare la presenza della figura di Domizio Marso all’interno dell’opera di Marziale, avanzando delle ipotesi in merito al ruolo di mediazione esercitato dal poeta augusteo nella storia dell’epigramma latino. Le frequenti e significative menzioni nel corpus marzialiano, che evidenziano una progressiva identificazione di Marziale con il suo antecedente, suggeriscono che Marso, prendendo le mosse dal modello catulliano, non abbia esitato a ricercare soluzioni poetiche nuove e originali, facendosi autore di una poesia improntata a un forte sperimentalismo, nelle forme e nei contenuti: fu ora poeta leggero e ora impegnato, rappresentando per Marziale un esplicito punto di riferimento, sia nell’interpretazione fluida e aperta del genere epigrammatico, sia per la capacità di comporre un epigramma degno, non meno della poesia “maggiore”, di adempiere alla celebrazione del potere. È possibile ipotizzare, inoltre, che Marso abbia offerto un rilevante contributo, in particolare, nello sviluppo dell’epigramma longum, discostandosi dal principio callimacheo della brevitas ma pur sempre mantenendosi fedele alla sua “Musa minore”.The contribution aims to investigate the presence of Domitius Marsus within Martial’s work, advancing hypotheses about the role of mediation held by the Augustan poet in the history of the Latin epigram. Martial’s corpus often includes significant quotes highlighting Martial’s progressive identification with his predecessor, suggesting that Marsus did not hesitate to look for unique new poetic solutions. As a result, his poetry was highly experimental, in terms of both form and content: alternating between a lighter approach and a more serious, committed one, Marsus represented a clear reference point for Martial, both for his fluid and open interpretation of the epigrammatic genre, as well as for his ability to compose an epigram worthy to fulfil the celebration of power, just like “major” poetry. It could also be argued that Marsus offered a considerable contribution particularly to the development of the epigramma longum, moving away from the callimachean principle of brevitas while remaining faithful to his “minor Muse”
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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