Coverage explores the on-board effects, low-light settings, and automatic HDR shooting. Clear explanations detail the ways in which you can use the new features of the Nikon D5100 to add unique shots to your portfolio while an explanation of photography terms gets you confident and savvy with this fun DSLR camera.Covers basic camera controls and functions, shooting in auto mode, setting photo quality, and navigating menus and the view screen Introduces the basics of photography, including the settings that control lighting, exposure, focus, and color Addresses the new low-light and HDR settings Encourages you to use the new onboard effects features and shares tips for improving images with editing software Get a grasp on the fun Nikon D5100 with this fun and friendly guide!

    But did Troy actually exist? And if so, where is it located? Was the Trojan War actually fought? If it was, did it take place over the course of ten years, as Homer wrote, or was it a much longer series of battles? And why was the war fought? Could Helen’s face alone really have launched a thousand ships?In this course, esteemed professor Eric H. Cline examines the real history of Troy and delves into the archaeological discoveries (which continue to the present day) that help to answer the questions above. Through an entertaining and incisive analysis of known data, Professor Cline provides a fuller, richer understanding of this historic clash.lecture 1. The tale of the Trojan War, introduction and overview. lecture 2. The Mycenaenslecture 3. The Hittiteslecture 4. The Sea peoples and the end of the late Bronze Agelecture 5. Greek literary evidence for the Trojan War and its sequence of events lecture 6. The Homeric question, Bronze Age or Iron Age lecture 7. Hittite literary evidence for Troy, the Mycenaens and the Trojan Warlecture 8. Heinrich Schliemann and the City of Troylecture 9. Priam's treasure lecture 10. Wilhelm Dörpfeld and the City of Troy VIlecture 11. Carl Blegen and the City of Troy VIIa lecture 12. Manfred Korfmann and the results of recent excavations lecture 13. Possible motivations and dates for a Trojan War lecture 14. Did the Trojan War take place?

    Renowned classicist Lionel Casson takes us on a lively tour, from the royal libraries of the most ancient Near East, through the private and public libraries of Greece and Rome, down to the first Christian monastic libraries. To the founders of the first public libraries of the Greek world goes the credit for creating the prototype of today’s library buildings and the science of organizing books in them.Casson recounts the development of ancient library buildings, systems, holdings, and patrons, addressing questions on a wide variety of topics, such as:• What was the connection between the rise in education and literacy and the growth of libraries?• Who contributed to the early development of public libraries, especially the great library at Alexandria?• What did ancient libraries include in their holdings?• How did ancient libraries acquire books?• What was the nature of publishing in the Greek and Roman world?• How did different types of users (royalty, scholars, religious figures) and different kinds of “books” (tablets, scrolls, codices) affect library arrangements?• How did Christianity transform the nature of library holdings?Just as a library yields unexpected treasures to a meandering browser, this entertaining book offers to its perusers the surprising history of the rise and development of ancient libraries—a fascinating story never told before.

    Ancient Aegean culture has a particularly important place within European history and art history because of its profound links to the origins ofEuropean civilization.Paintings, pottery, objects made from gold, silver, and ivory, carved reliefs, textiles, and architecture, are all fully illustrated and discussed. The authors reveal the many different functions that this vast range of arts and artifacts served within the cultural and social context of the EasternMediterranean and Near East.Combining the latest research and critical approaches with an up-to-date historiography this book gives readers a clear understanding of Ancient Aegean visual arts and of our changing interpretations of this extraordinary era.

    These plays have attracted focus and reflection from Aristotle, Freud, Nietzsche, and others who Professor Vandiver observes early in the course: "It is a notable paradox that Greek tragedy, a dramatic form that flourished for less than a full century, a dramatic form that began in a particular religious festival of a particular god some 2,500 years ago, remains vibrant, alive, and productive today. "It seems that there is something about tragedy that lifts it out of its particular circumstances and beyond its particular gods, social issues, and political concerns to give a kind of universality that is, in the last analysis, very surprising." The great tragedies shed light on the extraordinary time, place, and people that produced them. And they may help us-as perhaps they helped their original audiences-to grasp a fuller sense of both the terror and wonder that life presents. A Rounded View of a Grand Art Form Professor Vandiver has designed these lectures to give you a full overview of Greek tragedy, both in its original setting and as a lasting contribution to the artistic exploration of the human condition. There are three main points to the course: First: The Plays in Their Context. You learn to see Greek tragedy as a genre in its cultural context. Why did this powerful art form flower in the Athens of Pericles and the Peloponnesian War? What is tragedy's deeper historical background? Did it grow out of rituals honoring the god Dionysus, as is so often said? What role did it play in Athenian civic and religious life? How was it related to earlier performance traditions such as bardic recitation? How did Aeschylus, Sophocles, and Euripides each make unique contributions to tragedy's expressive power? Second: The Plays on the Stage. Too often, the surviving tragedies are seen purely as texts to be read, rather than as scripts to be played. Hence the second aim of Dr. Vandiver's course is to teach what scholarship can reveal about the performance of tragedy, including its physical and ritual settings, actors and acting methods, conventions of staging and stagecraft, and even how productions were financed. Third: The Plays in Rich Detail. Third, you explore with Professor Vandiver a broad group of tragedies in close detail. In particular, you will ask how individual tragedies use traditional myths (often tales from the Trojan War), and what Aeschylus, Sophocles, or Euripides intended to accomplish by changing or adding to the basic story. You examine what certain tragedies imply about the world of 5th-century Athens, and the importance, in turn, of the cultural background for explaining those tragedies. Surveying Key Scholars and Critics While Professor Vandiver frequently refers to modern critical approaches and theories to help illuminate the tragedies, she has chosen not to adopt any one theory as a framework for the lectures. Accordingly, you will find that she carefully and fairly discusses a number of views of tragedy, including those of Aristotle, Nietzsche, Freud, the Cambridge Ritualists, and even Aristophanes, who included the tragic stage in his wide-ranging satires of Athenian institutions, mores, and personalities. Three for the Ages Perhaps one of the most intriguing opportunities this course offers, even if you are a seasoned lover of literature and the classics, is the chance to compare and contrast the works of Aeschylus, Sophocles, and Euripides. Aeschylus (525-455 B.C.) Lectures 5 through 9 focus on Aeschylus, the eldest of the three. The plays and themes discussed include The Oresteia (a trilogy about the accursed House of Atreus in the aftermath of the Trojan War, it includes Agamemnon, Libation Bearers, and Eumenides), as well as the earlier plays Persians, Suppliant Maidens, and Seven Against Thebes. Sophocles (496-406 B.C.) Lectures 11 through 14 and 22 are devoted to Sophocles. He is well known for creating heroes such as Oedipus, Ajax, and Philoctetes, who are characterized by intense isolation. In his Poetics, Aristotle credits Sophocles with introducing the third actor (not counting the chorus) and the use of scenery. Euripides (484-406 B.C.) Lectures 15 through 21 concentrate on Euripides. The most overtly political and least traditional of the three, he wrote plays featuring an especially vivid array of strong, disturbing female characters, including Medea and Phaedra. Two other plays with female protagonists, Hecuba and Trojan Women, paint harrowing portraits of the horrors of war and were written while Athens was locked in a deadly struggle with Sparta and her allies. The course moves toward a finish by examining the revivals of Aeschylus, Sophocles, and Euripides put on in the Hellenistic theater, and then briefly discusses Roman adaptations and later "revivals" of Greek tragedy, from the Renaissance to modern times. It closes with Professor Vandiver's reflections on how the characteristic themes and tone of the Athenian tragic stage continue to inspire audiences and artists in a variety of media today.

     Is a form of abstract art that uses acrylic paints with a runny (fluid)consistency. The acrylic paints react with each other when combined together to make interesting and visually organic motifs. This type of art is fun for all ages. Fluid acrylics can be used on many types of substrates and in many different forms such as pouring, dripping, swirling, glazing, dipping and many other effects. Fluid art opens up a lot of possibilities and is definitely worth exploring and adding to your artist tool belt. In this book I will teach you everything you will need to become a paint pouring artist. I will share with you: How to set up your paint pouring studio on a budget complete supplies list share all the techniques that I use like; dirty pour flip cup, puddle pours, pre-lift slide technique, open cylinder, ribbon pour, swipe technique and more. I will show you how to properly handle and care for your art I will show you how to protect your artwork There are plenty of resources to refer to with information about mixing ratios, paint density and more I will share tips on how to price your art And tips on where to sell your masterpiece.

    

    They died singly and by the hundreds over several days in a carefully planned ambush led by Arminius-a Roman-trained German warrior determined to stop Rome's advance east beyond the Rhine River. By the time it was over, some 25,000 men, women, and children were dead and the course of European history had been forever altered. "Quinctilius Varus, give me back my legions!" Emperor Augustus agonized aloud when he learned of the devastating loss. As the decades slipped past, the location of one of the western world's most important battlefields was lost to history for two millenia.Fueled by an unshakeable curiosity and burning interest in the story, a British major named Tony Clunn delved into the nooks and crannies of times past. By sheer persistence and good luck, he turned the foundation of German national history on its ear. Convinced the running battle took place north of Osnabruck, Germany, Clunn set out to prove his point. His discovery of a handful of Roman coins in the late 1980s, followed by a flood of thousands of other artifacts (including weapons and human remains) ended the mystery once and for all. Today, a multi-million dollar state-of-the-art museum houses and interprets these priceless historical treasures on the very site Varus's legions were lost.In Quest of the Lost Roman Legions is a masterful retelling of Clunn's search to discover the Varus battlefield. His well-placed, carefully conceived, and vivid writing style makes for a compelling read from the first page to the last, as he alternates between his incredible modern quest and the ancient tale of the Roman occupation of Germany that ultimately ended so tragically in the peat bogs of Kalkriese.Tony Clunn joined the army at age 15 and served with the 3rd Royal Tank Regiment. He retired in the late 1990s after twenty-two years with the rank of major, an is currently employed by the British Army in Osnaburck and Kalkriese. He was presented with the Member of the Royal Order of the British Empire in 1996 by Queen Elizabeth II.

    The stranger is a Sicilian, a victim of the island's corrupt Roman governor, Verres. The senator is Marcus Cicero—an ambitious young lawyer and spellbinding orator, who at the age of twenty-seven is determined to attain imperium—supreme power in the state. Of all the great figures of the Roman world, none was more fascinating or charismatic than Cicero. And Tiro—the inventor of shorthand and author of numerous books, including a celebrated biography of his master (which was lost in the Dark Ages)—was always by his side. Compellingly written in Tiro's voice, Imperium is the re-creation of his vanished masterpiece, recounting in vivid detail the story of Cicero's quest for glory, competing with some of the most powerful and intimidating figures of his—or any other—age: Pompey, Caesar, Crassus, and the many other powerful Romans who changed history. Robert Harris, the world's master of innovative historical fiction, lures us into a violent, treacherous world of Roman politics at once exotically different from and yet startlingly similar to our own—a world of Senate intrigue and electoral corruption, special prosecutors and political adventurism—to describe how one clever, compassionate, devious, vulnerable man fought to reach the top.

    Sallust adopts the usually accepted view of Catiline, and describes him as the deliberate foe of law, order and morality, and does not give a comprehensive explanation of his views and intentions. Catiline had supported the party of Sulla, to which Sallust was opposed. Sallust's "Jugurthine War" is a valuable and interesting monograph. We may assume that Sallust collected materials and put together notes for it during his governorship of Numidia. Here, too, he dwells upon the feebleness of the senate and aristocracy.

    Edward Champlin reinterprets Nero's enormities on their own terms, as the self-conscious performances of an imperial actor with a formidable grasp of Roman history and mythology and a canny sense of his audience. mother's prompting. He then murdered his mother, with whom he may have slept. He killed his pregnant wife in a fit of rage then castrated and married a young freedman because he resembled her. He mounted the public stage to act a hero driven mad or a woman giving birth and raced a ten-horse chariot in the Olympic games. He probably instigated the burning of Rome, for which he then ordered the spectacular punishment of Christians, many of whom were burned as human torches to light up his gardens at night. Without seeking to rehabilitate the historical monster, Champlin renders Nero more vividly intelligible by illuminating the motives behind his theatrical gestures, and revealing the artist who thought of himself as a heroic figure. Tacitus, Suetonius and Cassius Dio.

    After its founding in 509 BCE, Rome grew from an unremarkable Italian city-state to the dominant superpower of the Mediterranean world. Through it all, the Romans never allowed a single man to seize control of the state. Every year for four hundred years the annually elected consuls voluntarily handed power to their successors. Not once did a consul give in to the temptation to grab absolute power and refuse to let it go. It was a run of political self-denial unmatched in the history of the world. The disciplined Roman republicans then proceeded to explode out of Italy and conquer a world filled with petty tyrants, barbarian chieftains, and despotic kings.But the very success of the Republic proved to be its undoing. The republican system was unable to cope with the vast empire Rome ruled. Bankrolled by mountains of imperial wealth and without a foreign enemy to keep them united, ambitious Roman leaders began to stray from the republican austerity of their ancestors. Almost as soon as they had conquered the Mediterranean, Rome would become engulfed in violent political conflicts and civil wars that would destroy the Republic less than a century later.The Storm Before the Storm tells the story of the beginning of the end of the Roman Republic--the story of the first generation that had to cope with the dangerous new political environment made possible by Rome's unrivaled domination over the known world. The tumultuous years from 133-80 BCE set the stage for the fall of the Republic.The Republic faced issues like rising economic inequality, increasing political polarization, the privatization of the military, endemic social and ethnic prejudice, rampant corruption, ongoing military quagmires, and the ruthless ambition and unwillingness of elites to do anything to reform the system in time to save it--a situation that draws many parallels to present-day America. These issues are among the reasons why the Roman Republic would fall. And as we all know, those who do not learn from history are doomed to repeat it.

    C. to Octavian's final defeat of Antony and Cleopatra at the Battle of Actium, has offered a rich and variegated field of exploration for historians, philosophers, economists, and literary critics. Yet few scholars have attempted the daunting task of seeing the period whole, of refracting its achievements and reception through the lens of a single critical mind. Alexander to Actium was conceived and written to fill that gap.In this monumental work, Peter Green—noted scholar, writer, and critic—breaks with the traditional practice of dividing the Hellenistic world into discrete, repetitious studies of Seleucids, Ptolemies, Antigonids, and Attalids. He instead treats these successor kingdoms as a single, evolving, interrelated continuum. The result clarifies the political picture as never before. With the help of over 200 illustrations, Green surveys every significant aspect of Hellenistic cultural development, from mathematics to medicine, from philosophy to religion, from literature to the visual arts.Green offers a particularly trenchant analysis of what has been seen as the conscious dissemination in the East of Hellenistic culture, and finds it largely a myth fueled by Victorian scholars seeking justification for a no longer morally respectable imperialism. His work leaves us with a final impression of the Hellenistic Age as a world with haunting and disturbing resemblances to our own. This lively, personal survey of a period as colorful as it is complex will fascinate the general reader no less than students and scholars.

    This text consists of an illustrated guide to all the major sites in twelve main areas in central Rome, and four in Greater Rome, including the Capitoline Hill, Roman Forum, Colosseum, Mausoleums of Augustus and Hadrian, the Circus Maximus, Catacombs, Ostia, and Tivoli.

    Lebrecht compellingly demonstrates that classical recording has reached its end point, but this is not simply an expos? of decline and fall. It is, for the first time, the full story of a minor art form, analyzing the cultural revolution wrought by Schnabel, Toscanini, Callas, Rattle, the Three Tenors, and Charlotte Church. It is the story of how stars were made and broken by the record business; how a war criminal conspired with a concentration-camp victim to create a record empire; and how advancing technology, boardroom wars, public credulity and unscrupulous exploitation shaped the musical backdrop to our modern lives. The book ends with a suitable shrine to classical recording: the author's critical selection of the 100 most important recordings, and the 20 most appalling.Filled with memorable incidents and unforgettable personalities, from Goddard Lieberson, legendary head of CBS Masterworks who signed his letters as God; to Georg Solti, who turned the Chicago Symphony into the loudest symphony on earth - this is at once the captivating story of the life and death of classical recording and an opinionated, insider's guide to appreciating the genre, now and for years to come.