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11 hits

  • Thumbnail for Dish - Old Man, Young Boy, Flowering Branches
    Dish - Old Man, Young Boy, Flowering Branches by Fitzhugh pattern

    Decorated in underglaze blue, with three clusters of flowering branches on the rim, the center of flowering branches on the rim, the center cluster containing a fleur-de-lis, trellis diaper interspersed with florets and reserved panels of beribboned emblems in the well, central scene depicting an old man and a young boy.

  • Thumbnail for Charger of Lee Family Coat of Arms
    Charger of Lee Family Coat of Arms

    On the border are two alternating scenes painted en grisaille. One is of skyline of London along the Thames River and the other is of the port of Canton along the Pearl River. Symbolizes the trade between the two. In the center is the Lee family crest and coat of arms. As always, the squirrel is directly above the shield and the motto "VIRTUS. VERA EST NOBILITAS" is below.

  • Thumbnail for Dish - E Pluribus Unum
    Dish - E Pluribus Unum by Fitzhugh pattern

    Kidney shaped with scalloped rim; decorated in polychrome enamels, with border of diapers, frets, scales, butterflies, and sprays on the rim, honeycomb-diaper band at the well, central emblem of an eagle bearing a shield and holding a laurel branch in one talon and arrows in the other, and with a banner inscribed E Pluribus Unum.

  • Thumbnail for The Relevance of “Story-Truth” in the Telling of War Stories
    The Relevance of “Story-Truth” in the Telling of War Stories by Franco, Alejandra Anna-Alisia

    In the novel The Things They Carried, Tim O’Brien utilizes metafiction to explore the idea of truth in war stories. O’Brien created two types of truth that are used for storytelling: the happening-truth and the story-truth. The happening truth refers to what actually happened in a story and the story-truth is a dramatized version of what actually happened in the story. Storytellers often utilize story-truth to convey the experience, rather than the just the events, to the audience. O’Brien hints to an interesting relationship and positive feedback loop between the audience and the storyteller which could ultimately cause the storyteller to utilize story-truth rather than the happening-truth. Using this lens, the war stories contained within The Odyssey and The Aeneid were analyzed to see how well the idea of story-truth vs. happening-truth as well as the relationship between the audience and storyteller were present. This analysis makes it apparent that all three of these war stories (Aeneas’, Odysseus’, and O’Brien’s) share much more in common than originally thought.

  • Thumbnail for The Relevance of “Story-Truth” in the Telling of War Stories
    The Relevance of “Story-Truth” in the Telling of War Stories by Franco, Alejandra Anna-Alisia

    In the novel The Things They Carried, Tim O’Brien utilizes metafiction to explore the idea of truth in war stories. O’Brien created two types of truth that are used for storytelling: the happening-truth and the story-truth. The happening truth refers to what actually happened in a story and the story-truth is a dramatized version of what actually happened in the story. Storytellers often utilize story-truth to convey the experience, rather than the just the events, to the audience. O’Brien hints to an interesting relationship and positive feedback loop between the audience and the storyteller which could ultimately cause the storyteller to utilize story-truth rather than the happening-truth. Using this lens, the war stories contained within The Odyssey and The Aeneid were analyzed to see how well the idea of story-truth vs. happening-truth as well as the relationship between the audience and storyteller were present. This analysis makes it apparent that all three of these war stories (Aeneas’, Odysseus’, and O’Brien’s) share much more in common than originally thought.

  • Thumbnail for A (Roman) Family Affair: Pro Cluentio
  • Thumbnail for Famille Rose, Tankard
    Famille Rose, Tankard

    British market tankard in Famille Rose pattern. Has 3 crests of pelican below a reversed 'MERUI'.

  • Thumbnail for Dish
    Dish by Fitzhugh pattern

    Kidney shape with scalloped rim; decorated in polychrome enamels, with a border of diapers, frets, scales, butterflies, and sprays on the rim, honeycomb-diaper band at the well, central emblem of an eagle bearing a shield and holding a laurel branch in one talon and arrows in the other, and with a banner inscribed E Pluribus Unum.

  • Thumbnail for Gendered Grief: The Rhetoric of Ritual Lamentation in Heroides X
    Gendered Grief: The Rhetoric of Ritual Lamentation in Heroides X by Magnani, Gabriella

    My purpose in this paper is to consider Heroides X in the context of funeral elegy and lamentation ritual in the ancient world. Ovid’s epistle, written in Ariadne’s voice, transports us to the moment of her desertion on Naxos. Through Ariadne’s telling of her own experience, Ovid both invites a sincere empathetic response and plays an intellectual game involving genre. Heroides X functions both as an erotic love poem and as a funerary lament by Ariadne for her own death, the latter of which is apparent through Ovid’s knowing use of gendered conventions of mourning. Focusing on this under-explored aspect reveals a further dimension of rhetorical intricacy to the text, allowing the elegiac form, Ariadne’s experience and description of her abandonment, the emphasized contrast between untroubled past and miserable present, and Ariadne’s shifting between inertia and hysteria to be understood as informed by Greco-Roman lamentation rituals.

  • Thumbnail for Weaving a Narrative on a Patriarchal Society: The Injustice Between Mortals and Immortals in Ovid's Metamorphoses Book Six Lines 1-145
  • Thumbnail for Clementia in Caesar's Comentarii de Bello Gallico