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This volume contains "The Lives of Illustrius Men" and Books V-VIII or "The Lives of the Caesars."
This book focuses on the influence of classical authors on Ben Jonson’s dramaturgy, with particular emphasis on the Greek and Roman playwrights and satirists. It illuminates the interdependence of the aspects of Jonson’s creative personality by considering how classical performance elements, including the Aristophanic ‘Great Idea,’ chorus, Terentian/Plautine performative strategies, and ‘performative’ elements from literary satire, manifest themselves in the structuring and staging of his plays. This fascinating exploration contributes to the ‘performative turn’ in early modern studies by reframing Jonson’s classicism as essential to his dramaturgy as well as his erudition. The book is also a case study for how the early modern education system’s emphasis on imitative-contaminative practices prepared its students, many of whom became professional playwrights, for writing for a theatre that had a similar emphasis on recycling and recombining performative tropes and structures.
Michael P. Theophilos explores the fascinating variety of numismatic contributions to Greek lexicography, pertaining to lexicographic studies of the Second Temple period in general, and the New Testament in particular. Theophilos considers previous scholarly attempts to grapple with, and incorporate, critical numismatic material into the emerging discipline of Greek lexicography - including foundational work by F. Preisigke and E. Kiessling - before outlining his own methodological approach. Theophilos' then examines the resources available for engaging with the numismatic material, and presents a series of specific case studies throughout the New Testament material. His carefully annotated images of coins draw readers in to a greater understanding of the material culture of the Greco-Roman world, and how this impacted upon the Greek language and the New Testament.
The Volume speaks to us from the heart and engages the socio-political concerns in the Nigerian context through the lens of a theological approach. The author reflects historically the numerous consequences of the amalgamation of the ethnic groups of different orientations in Nigeria into one socio-political structure of the colonizers interests. This sociopolitical structure raises several questions than answers it pretends to offer the indigenous people. From a Nigerian point of view, the articles in this volume critically challenge the unjust formation of any nationhood in the Africa context. It points out how the sustenance of an unjust nation formation betrays the creed on which such a nation is established. “Truth conquers all” is the spirit with which this Volume is written. It is the truth that will set a nation like Nigeria free from the spirit of confusion and unperceived religio-socio-political syncretism. The awareness emanating from this volume suggests liberating steps from the unsuspicious colonial interests and the sustained feigned relationship with the colonizers which militate against the socio-political and economic growth, and theological orthodoxy of such a growing nation.
Socrates, Or On Human Knowledge, published in Venice in 1651, is the only work written by a Jew that contains so far the promise of a genuinely sceptical investigation into the validity of human certainties. Simone Luzzatto masterly developed this book as a pièce of theatre where Socrates, as main actor, has the task to demonstrate the limits and weaknesses of the human capacity to acquire knowledge without being guided by revelation. He achieved this goal by offering an overview of the various and contradictory gnosiological opinions disseminated since ancient times: the divergence of views, to which he addressed the most attention, prevented him from giving a fixed definition of the nature of the cognitive process. This obliged him to come to the audacious conclusion of neither affirming nor denying anything concerning human knowledge, and finally of suspending his judgement altogether. This work unfortunately had little success in Luzzatto’s lifetime, and was subsequently almost forgotten. The absence of substantial evidence from his contemporaries and that of his epistolary have thus increased the difficulty of tracing not only its legacy in the history of philosophical though, but also of understanding the circumstances surrounding the writing of his Socrates. The present edition will be a preliminary study aiming to shed some light on the philosophical and historical value of this work’s translation, indeed it will provide a broader readership with the opportunity to access this immensely complicated work and also to grasp some aspects of the composite intellectual framework and admirable modernity of Venetian Jewish culture in the ghetto.
This book asks what theological messages theologically educated Catholics in late-eighteenth-century Prague might have perceived in Mozart’s late opera seria La clemenza di Tito. The book’s thesis is two-fold: first, that Catholics might have heard the opera’s advocacy of enlightened absolutism as a celebration of a distinctly Catholic understanding of political governance; and second, that they might have found in the opera a metaphor for the relationship between a gracious God and humanity caught up in sin, expressed as sexual concupiscence, pride, and lust for power. The book develops its interpretation of the opera through narrative character analyses of the main protagonists, an examination of their dramatic development, and by paying attention to the biblical and theological associations they may have evoked in a Catholic audience. The book is geared towards academic readers interested in opera, theologians, historians, and those who work at the intersection of theology and the arts. It contributes to a better understanding of the theological implications of Mozart’s operatic work.