A classic format for compositions is the five-paragraph essay. It is not the only format for writing an essay, of course, but it is a useful model for you to keep in mind, especially as you begin to develop your composition skills. The following material is adapted from a handout prepared by Harry Livermore for his high school English classes at Cook High School in Adel, Georgia. It is used here with his permission.
{"title":"The Five-Paragraph Essay","authors":"W. Desmond","doi":"10.2307/arion.23.2.0187","DOIUrl":"https://doi.org/10.2307/arion.23.2.0187","url":null,"abstract":"A classic format for compositions is the five-paragraph essay. It is not the only format for writing an essay, of course, but it is a useful model for you to keep in mind, especially as you begin to develop your composition skills. The following material is adapted from a handout prepared by Harry Livermore for his high school English classes at Cook High School in Adel, Georgia. It is used here with his permission.","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74208174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Some Protreptic Anecdotes about the Cynic Philosopher Crates (ca. 365–285 bce )","authors":"Apuleius, Th D McCreight","doi":"10.2307/arion.23.2.0183","DOIUrl":"https://doi.org/10.2307/arion.23.2.0183","url":null,"abstract":"","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75434216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Classics at the Dawn of the Museum Era: The Life and Times of Antoine Chrysostome Quatremère De Quincy (1755–1849)","authors":"J. Ruprecht","doi":"10.2307/ARION.22.1.0133","DOIUrl":"https://doi.org/10.2307/ARION.22.1.0133","url":null,"abstract":"","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/ARION.22.1.0133","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72384644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Two rooms over from the highly frequented Parthenon Frieze in the British Museum stands a Greco-Roman sculpture of an athletic male youth (fig. 1).1 This sculpture has a museum plaque that gives visitors little information beyond what they might be able to observe for themselves. The plaque simply reads “God or Athlete.” In contrast to the vast amounts of historical information and political debate that surround the famous Parthenon frieze, one might be disappointed not to learn any specific historical or contextual information for this particular sculpture.2 Yet, the indecisive title of this piece may be taken as a case in point for the complexities involved with the Greek visual legacy of the male body. On the one hand, the title “God or Athlete”
{"title":"Greek Ideal as Hyperreal: Greco-Roman Sculpture and the Athletic Male Body","authors":"C. Stocking","doi":"10.2307/ARION.21.3.0045","DOIUrl":"https://doi.org/10.2307/ARION.21.3.0045","url":null,"abstract":"Two rooms over from the highly frequented Parthenon Frieze in the British Museum stands a Greco-Roman sculpture of an athletic male youth (fig. 1).1 This sculpture has a museum plaque that gives visitors little information beyond what they might be able to observe for themselves. The plaque simply reads “God or Athlete.” In contrast to the vast amounts of historical information and political debate that surround the famous Parthenon frieze, one might be disappointed not to learn any specific historical or contextual information for this particular sculpture.2 Yet, the indecisive title of this piece may be taken as a case in point for the complexities involved with the Greek visual legacy of the male body. On the one hand, the title “God or Athlete”","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80049545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
rome, 1975 A beach in Ostia, just outside of Rome, was the scene of a grisly killing in 1975. The victim was Pier Paolo Pasolini, a one-time schoolteacher, who went on to become one of Italy’s most important public intellectuals. Pasolini was many things to many people—poet, translator, staunch advocate for his native Friulian dialect, semiotic theorist, journalist, social critic, political activist, novelist, and, ultimately, a filmmaker. Pasolini’s corpse had been badly mutilated and was hardly recognizable. His skull had been crushed with a wooden plank and, according to the coroner’s report, he had been kicked repeatedly in the scrotum with such vehemence that his groin area was black and grotesquely distended. Pasolini’s attackers then drove over his body multiple times with his own Alpha Romeo GT. A seventeen-year-old hustler and convicted felon named Giuseppe Pelosi (nicknamed “Pino la Rana,” or “Joey the Frog”) was charged with the murder and initially confessed to the crime. Pelosi served nine years. He was released from prison in 1984, but he retracted his confession in 2005, claiming that he did not kill Pasolini, but had taken the fall because certain men with Sicilian accents had threatened to hurt his family. From the outset of the investigation, police reports indicated that Pelosi’s story—that Pasolini had picked him up for sex at the Stazione Termini and that their transaction had turned vi-
1975年，罗马郊外奥斯蒂亚的一个海滩上发生了一起可怕的杀戮事件。受害者是皮尔·保罗·帕索里尼(Pier Paolo Pasolini)，他曾经是一名教师，后来成为意大利最重要的公共知识分子之一。对许多人来说，帕索里尼有着多种身份——诗人、翻译家、弗留利方言的坚定拥护者、符号学理论家、记者、社会评论家、政治活动家、小说家，最终，他还是一位电影制作人。帕索里尼的尸体被严重肢解，几乎认不出来。他的头骨被一块木板压碎，根据验尸官的报告，他的阴囊被反复踢得如此猛烈，以至于他的腹股沟部位发黑，怪异地膨胀。袭击帕索里尼的人开着自己的阿尔法罗密欧GT从他的尸体上开了好几次。一个名叫朱塞佩·佩洛西(绰号“皮诺·拉拉纳”或“青蛙乔伊”)的17岁的骗子和已定罪的重罪犯被指控犯有谋杀罪，并最初承认了罪行。佩洛西任职9年。他于1984年出狱，但在2005年收回了供词，声称他没有杀害帕索里尼，而是因为某些带有西西里口音的人威胁要伤害他的家人，才背了黑锅。从调查一开始，警方的报告就表明佩洛西的故事——帕索里尼在车站接他进行性交易，然后他们的交易就变成了骗局
{"title":"An African Oresteia : Field Notes on Pasolini's Appunti per un' Orestiade africana","authors":"M. D. Usher","doi":"10.2307/arion.21.3.0111","DOIUrl":"https://doi.org/10.2307/arion.21.3.0111","url":null,"abstract":"rome, 1975 A beach in Ostia, just outside of Rome, was the scene of a grisly killing in 1975. The victim was Pier Paolo Pasolini, a one-time schoolteacher, who went on to become one of Italy’s most important public intellectuals. Pasolini was many things to many people—poet, translator, staunch advocate for his native Friulian dialect, semiotic theorist, journalist, social critic, political activist, novelist, and, ultimately, a filmmaker. Pasolini’s corpse had been badly mutilated and was hardly recognizable. His skull had been crushed with a wooden plank and, according to the coroner’s report, he had been kicked repeatedly in the scrotum with such vehemence that his groin area was black and grotesquely distended. Pasolini’s attackers then drove over his body multiple times with his own Alpha Romeo GT. A seventeen-year-old hustler and convicted felon named Giuseppe Pelosi (nicknamed “Pino la Rana,” or “Joey the Frog”) was charged with the murder and initially confessed to the crime. Pelosi served nine years. He was released from prison in 1984, but he retracted his confession in 2005, claiming that he did not kill Pasolini, but had taken the fall because certain men with Sicilian accents had threatened to hurt his family. From the outset of the investigation, police reports indicated that Pelosi’s story—that Pasolini had picked him up for sex at the Stazione Termini and that their transaction had turned vi-","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82112298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There are many mysteries and much contradictory evidence surrounding Rembrandt’s life. Why was Rembrandt, the ninth of ten children, the only one to be enrolled in Latin school? Around age fifteen, why was he then pulled out to apprentice as a painter with Jacob Isaacz van Swanenburg? Why was Swanenburg, whom we would call a second-rate artist, chosen as a teacher? How did Rembrandt, the son of a miller, cross paths with Constantijn Huygens, one of the most erudite people in the Netherlands and a secretary to Stadholder, prince of Orange? How did Rembrandt, a newcomer to Amsterdam and only in his mid-twenties, become one of the most famous and sought-after artists almost overnight? And why did he then have to declare bankruptcy in 1656, dying in near poverty, abandoned by most of his students and prior collectors? Most of these questions have been dealt with by puzzled art historians in one way or another. Each of their hypotheses often contradicts the other—and in some cases, Rembrandt’s history is constructed solely from guesses. The actual evidence of his biography is largely based on two sources, the first of which is a 350-word account by Jan Jansz from 1641, part of his Leiden city guidebook.1 Even this contemporary description of Rembrandt’s career is full of generalities and subjective interpretations. The other famous source of facts about Rembrandt is the exhaustive bankruptcy list of his possessions, which, though it tells us a lot of details about Rembrandt’s private life, is full of gaps when it comes to explaining his work. Titles of Rembrandt paintings were attributed posthumously, with paintings often being revisited on numerous occasions with diametrically opposing theories and subject attributions. Such is the case with
{"title":"Rembrandt: Turn of the Key","authors":"Zhenya Gershman","doi":"10.2307/ARION.21.3.0079","DOIUrl":"https://doi.org/10.2307/ARION.21.3.0079","url":null,"abstract":"There are many mysteries and much contradictory evidence surrounding Rembrandt’s life. Why was Rembrandt, the ninth of ten children, the only one to be enrolled in Latin school? Around age fifteen, why was he then pulled out to apprentice as a painter with Jacob Isaacz van Swanenburg? Why was Swanenburg, whom we would call a second-rate artist, chosen as a teacher? How did Rembrandt, the son of a miller, cross paths with Constantijn Huygens, one of the most erudite people in the Netherlands and a secretary to Stadholder, prince of Orange? How did Rembrandt, a newcomer to Amsterdam and only in his mid-twenties, become one of the most famous and sought-after artists almost overnight? And why did he then have to declare bankruptcy in 1656, dying in near poverty, abandoned by most of his students and prior collectors? Most of these questions have been dealt with by puzzled art historians in one way or another. Each of their hypotheses often contradicts the other—and in some cases, Rembrandt’s history is constructed solely from guesses. The actual evidence of his biography is largely based on two sources, the first of which is a 350-word account by Jan Jansz from 1641, part of his Leiden city guidebook.1 Even this contemporary description of Rembrandt’s career is full of generalities and subjective interpretations. The other famous source of facts about Rembrandt is the exhaustive bankruptcy list of his possessions, which, though it tells us a lot of details about Rembrandt’s private life, is full of gaps when it comes to explaining his work. Titles of Rembrandt paintings were attributed posthumously, with paintings often being revisited on numerous occasions with diametrically opposing theories and subject attributions. Such is the case with","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77338605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wyke’s book, broadly chronological from the late nineteenth to the early twenty-first century, follows two main lines, those of education (the mostly textual Caesar of schools, universities, and broadly academic readerships) and of popular culture (the Caesar of the stage, of television and film, and of journalism). Crucially, her Roman Caesar is inseparable from Shakespeare’s Caesar, and her structure and agenda are in part set by following those twin and intertwined lines, which both additionally highlight the complex relationship of America with a canon of classics, be they ancient or, in Shakespeare’s case, modern.
{"title":"Sic Semper Tyrannis","authors":"Constanze Güthenke","doi":"10.2307/ARION.21.3.0163","DOIUrl":"https://doi.org/10.2307/ARION.21.3.0163","url":null,"abstract":"Wyke’s book, broadly chronological from the late nineteenth to the early twenty-first century, follows two main lines, those of education (the mostly textual Caesar of schools, universities, and broadly academic readerships) and of popular culture (the Caesar of the stage, of television and film, and of journalism). Crucially, her Roman Caesar is inseparable from Shakespeare’s Caesar, and her structure and agenda are in part set by following those twin and intertwined lines, which both additionally highlight the complex relationship of America with a canon of classics, be they ancient or, in Shakespeare’s case, modern.","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86763978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Orpheus' Plea (“Prière d'Orphée”)","authors":"M. Durry, John Fraser","doi":"10.2307/ARION.19.3.0131","DOIUrl":"https://doi.org/10.2307/ARION.19.3.0131","url":null,"abstract":"","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84400161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-01-01DOI: 10.1017/CBO9780511483004.009
S. Halliwell
T Xhe eponymous protagonist of Samuel Beck? ett's early novel Murphy spends most of his time in search of an escape from the burden of mundane consciousness?from what the novel calls his "unredeemed split self." Murphy survives by cultivating a variety of ataraxy: in Beckett's words, a "self-immersed indifference to the contingencies of the contingent world which he had chosen for himself as the only felicity." It is not at all inappropriate to gloss such a mental life in the vocabulary of Greek philosophy. The novel itself invites us to do so. We learn, for one thing, how Murphy had studied with the eccentrically Pythagorean Neary, whose attempt to inculcate an "attunement" and blending of "the opposites in Murphy's heart" had been fruitless. An entire chapter, moreover, is devoted to the depiction of Murphy's mind as both markedly tripartite and as a kind of private Platonic Cave, divided into zones of light, half light, and darkness. In the light, into which he rarely finds his way, Murphy has access to the "forms" of a fantasized reordering of his actual existence. In the half-light, he enjoys a dream-like, peaceful contemplation. But in the
{"title":"Greek Laughter and the Problem of the Absurd","authors":"S. Halliwell","doi":"10.1017/CBO9780511483004.009","DOIUrl":"https://doi.org/10.1017/CBO9780511483004.009","url":null,"abstract":"T Xhe eponymous protagonist of Samuel Beck? ett's early novel Murphy spends most of his time in search of an escape from the burden of mundane consciousness?from what the novel calls his \"unredeemed split self.\" Murphy survives by cultivating a variety of ataraxy: in Beckett's words, a \"self-immersed indifference to the contingencies of the contingent world which he had chosen for himself as the only felicity.\" It is not at all inappropriate to gloss such a mental life in the vocabulary of Greek philosophy. The novel itself invites us to do so. We learn, for one thing, how Murphy had studied with the eccentrically Pythagorean Neary, whose attempt to inculcate an \"attunement\" and blending of \"the opposites in Murphy's heart\" had been fruitless. An entire chapter, moreover, is devoted to the depiction of Murphy's mind as both markedly tripartite and as a kind of private Platonic Cave, divided into zones of light, half light, and darkness. In the light, into which he rarely finds his way, Murphy has access to the \"forms\" of a fantasized reordering of his actual existence. In the half-light, he enjoys a dream-like, peaceful contemplation. But in the","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77261198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.5422/fso/9780823226443.003.0002
M. Détienne
A have decided to speak of "the gods" rather than "religion," and the "political domain" (le politique) to identify the specific domain that has been recognized as such (to politikon) ever since Aristotle. As for the earliest Greek cities, they constitute the area of my present fieldwork. No doubt you thought, "Presumably, he's a Hellenist" . . . and there is, for heaven's sake, surely nothing shameful about being a Hellenist. All the sanie, I should like to make it clear that, very early on, I was lucky enough to embark upon comparative studies. What kind of comparative stud ies? The kind that involves historians working with anthro pologists, and vice versa. But to work as an anthropologist particularly concerned with the comparativist approaches of ethnologists and historians is more complex than it may ap pear.1 When Hellenists hear of someone "doing anthropology with the ancient Greeks," they manifest irritation, and as for historians?I am thinking of mainstream historians, those of our "major" nations of both today and yesterday?they too are usually less than enthusiastic, particularly if it is a matter of embarking upon comparativism of a widely ranging na ture.
{"title":"The Gods of Politics in Early Greek Cities","authors":"M. Détienne","doi":"10.5422/fso/9780823226443.003.0002","DOIUrl":"https://doi.org/10.5422/fso/9780823226443.003.0002","url":null,"abstract":"A have decided to speak of \"the gods\" rather than \"religion,\" and the \"political domain\" (le politique) to identify the specific domain that has been recognized as such (to politikon) ever since Aristotle. As for the earliest Greek cities, they constitute the area of my present fieldwork. No doubt you thought, \"Presumably, he's a Hellenist\" . . . and there is, for heaven's sake, surely nothing shameful about being a Hellenist. All the sanie, I should like to make it clear that, very early on, I was lucky enough to embark upon comparative studies. What kind of comparative stud ies? The kind that involves historians working with anthro pologists, and vice versa. But to work as an anthropologist particularly concerned with the comparativist approaches of ethnologists and historians is more complex than it may ap pear.1 When Hellenists hear of someone \"doing anthropology with the ancient Greeks,\" they manifest irritation, and as for historians?I am thinking of mainstream historians, those of our \"major\" nations of both today and yesterday?they too are usually less than enthusiastic, particularly if it is a matter of embarking upon comparativism of a widely ranging na ture.","PeriodicalId":39571,"journal":{"name":"ARION-A JOURNAL OF HUMANITIES AND THE CLASSICS","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77898940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：