Pietas and Victoria: the Emperor and the Citizen

1943 ◽  
Vol 33 (1-2) ◽  
pp. 1-10 ◽  
Author(s):  
M. P. Charlesworth

In dealing with so wide-ranging a subject, a remark of an American scholar, Mr. Hoey, on the intimate connection between the titles pius, felix, and invictus provides a convenient starting-point.The first observation I would make is to call your attention to the consecutive (and almost causal) connection of these adjectives : because the Emperor is pius the gods will render him felix (for felicitas is their gift to their favourites) and his felicitas is best demonstrated in his being invictus. Nearly every nation of antiquity believed and hoped that its gods would bring it success : the Roman People, with seven centuries of expansion and increasing power to look back on, were convinced that their scrupulous attention to the due performance of the proper rites had won them this success, that their pietas had secured to them victoria; if the Emperor could be termed pius felix invictus, it was because he summed up and incarnated there the Roman People.

Author(s):  
Andre Maeder ◽  
Vesselin G Gueorguiev

Abstract Maxwell equations and the equations of General Relativity are scale invariant in empty space. The presence of charge or currents in electromagnetism or the presence of matter in cosmology are preventing scale invariance. The question arises on how much matter within the horizon is necessary to kill scale invariance. The scale invariant field equation, first written by Dirac in 1973 and then revisited by Canuto et al. in 1977, provides the starting point to address this question. The resulting cosmological models show that, as soon as matter is present, the effects of scale invariance rapidly decline from ϱ = 0 to ϱc, and are forbidden for densities above ϱc. The absence of scale invariance in this case is consistent with considerations about causal connection. Below ϱc, scale invariance appears as an open possibility, which also depends on the occurrence of in the scale invariant context. In the present approach, we identify the scalar field of the empty space in the Scale Invariant Vacuum (SIV) context to the scalar field ϕ in the energy density $\varrho = \frac{1}{2} \dot{\varphi }^2 + V(\varphi )$ of the vacuum at inflation. This leads to some constraints on the potential. This identification also solves the so-called “cosmological constant problem”. In the framework of scale invariance, an inflation with a large number of e-foldings is also predicted. We conclude that scale invariance for models with densities below ϱc is an open possibility; the final answer may come from high redshift observations, where differences from the ΛCDM models appear.


2014 ◽  
Vol 19 (12) ◽  
pp. 4699-4708 ◽  
Author(s):  
Lenz Alberto Alves Cabral ◽  
Zaida Aurora Sperli Geraldes Soler ◽  
José Carlos Lopes

The scope of this study is to contribute to the improvement of Occupational Health Surveillance in the Unified Health System (UHS), through the recognition and inclusion of a third type of work-related accident in the current Brazilian legislation classification: the dual causation accident. This classification aims at facilitating the establishment of a causal connection, thus broadening the understanding of the relationship between work process and the production of diseases. It also aims at improving legal rules to protect the health of workers. This approach, besides enabling the identification of sentinel events (starting point of surveillance activities), might contribute not only to a decrease in underreporting of work-related accidents, but also to the uniformity of concepts and the implementation of integrated actions of the National Social Security Institute (NISS), the UHS, the Ministry of Labor (MLE) and the Judiciary for the protection of workers. To propose a third type of occupational accident, a study of occupational accidents and causes of underreporting was conducted, with reference to the Brazilian labor legislation in the context of the National Policy on Occupational Health and the UHS.


2017 ◽  
Author(s):  
Martin Wiener ◽  
Alomi Parikh ◽  
Arielle Krakow ◽  
H. Branch Coslett

AbstractThe neural mechanisms underlying time perception are of vital importance to a comprehensive understanding of behavior and cognition. Recent work has pointed to a supramodal role for beta oscillations in coordinating endogenous timing mechanisms for the purpose of measuring temporal intervals. However, the majority of this work has employed paradigms relying on timed motor responses, which are confounded by beta’s established role in motor movement. Further, no study to date has tested if the alteration of beta oscillations subsequently impacts timing. Here, we address these concerns and demonstrate for the first time a causal connection between beta oscillations and timing. To accomplish this, we first re-analyzed two, separate EEG datasets from psychophysical experiments (Wiener, et al. 2012; 2015) demonstrating that beta oscillations are associated with the retention and comparison of a memory standard for duration, and that transcranial magnetic stimulation (TMS) of the right supramarginal gyrus leads to an increase in midline beta power during the encoding of a temporal interval, corresponding with a longer perceived interval of time. Next, we conducted a study of 20 healthy human participants using transcranial alternating current stimulation (tACS), over frontocentral cortex, at alpha (10Hz) and beta (20Hz) frequencies, during a visual temporal bisection task, demonstrating that beta stimulation exclusively shifts the perception of time such that stimuli are reported as longer in length, while preserving precision. Finally, we decomposed trial-by-trial choice data with a drift diffusion model of decision making and temporal encoding that reveals the shift in timing is caused by a change in the starting point of accumulation, rather than the drift rate or threshold. Our results provide causal evidence of beta’s involvement in the perception of time, and point to a specific role for beta oscillations in the encoding and retention of memory for temporal intervals.


2020 ◽  
pp. 1289-1306
Author(s):  
Arantza Etxeberria Montoya

RESUMEN Se trata de dar a conocer la Biblioteca de la Ciudad de la Música. Hacer un recorrido en el tiempo y mostrar cómo pasó de ser una sala en el conservatorio sin posibilidad de búsqueda, acceso, ni consulta, con un simple Excel como punto de partida, a tener un espacio digno con un catálogo informatizado de consulta pública. Cambio y avance propiciado por la gran decisión que se tomó en su día de darle vida y sentido, dotando de personal y recursos a una colección de sus características, especializada en música. Hecho producido gracias al trabajo e insistencia, durante largo tiempo, de muchas personas dentro de ambos conservatorios. Lo que ha derivado que hoy día sea lo que es, una biblioteca especializada en música, la única de Navarra. LABURPENA Helburua, Musikaren Hiriko Liburutegia ezagutaraztea da, denboran zehar ibilbide bat eginez, Excel xume bat besterik ez zuen kontserbatorioko gela bat izatetik, katalogo informatizatua duen kontsulta publikoko gune duina izatera nola pasatu den azalduz. Musikan espezializatutako bilduma honi zentzua eta bizitza eman eta langile zein errekurtsoez hornitzeko hartutako erabakiak, aldaketa eta aurrerapauso hori erraztu zuten. Hau guztia, bi kontserbatorioetako pertsona askok luzaroan egindako lanari esker gauzatu da, egun Nafarroan dagoen musikan espezializatutako liburutegi bakarra sortuz. ABSTRACT The aim of this work is to promote the Library of the City of Music. Look back in time and show how it went from being a room in the conservatory without the possibility of searching, accessing or consulting, with a simple Excel sheet as a starting point, to have a decent space with a computerised catalogue for public consultation. Change and progression came about by the big decision that was taken back in the day to bring to life and give meaning, provide staff and resources, to a collection of these characteristics, specialised in music. This happened thanks to the work and persistence for a long time of many within both conservatories. Which has resulted in what it is today, a library specialised in music, the only one in Navarra.


2020 ◽  
Vol 21 (2) ◽  
pp. 31
Author(s):  
Husaini Husda
Keyword(s):  

The journey of Indonesia history is facing a lot of critics form many elements of nation, including the decision of first president of Indonesia Ir. Soekarno to acknowledge the establishment of organization of Budi Utomo as a national resurgence day in 1948, this article try to look back at the historical facts, because there are other organizations already exist before Budi Utomo, by providing historical facts that are not being awared of until today, in a hope to clarifiy that Budi Utomo is not the starting point of Indonesian resurgence.


1942 ◽  
Vol 36 (1-2) ◽  
pp. 43-53 ◽  
Author(s):  
Emil Goldmann

Until the issue of Altheim's book Roemische Religionsgeschichte there was little doubt about the correctness of Wissowa's view that the two groups of the diindigetes and the di novensides combined with each other represent the whole of theRoman pantheon, the di indigetes being the old, indigenous deities of the Roman people, inherited so to speak from the days of Romulus, the di novensides the new deities, imported in historical times from foreign peoples. This view has now been abandoned, owing to Altheim's arguments. Besides this, Altheim and later C. Koch have proved that the proximity of the expressions divi novensiles and di indigetes in Livy's report about the devotio of P. Decius Mus (viii. 9) does not in itself justify the conclusion that the di indigetes and the di novensides are linked together in such a manner that the solution of the problem of one group involves that of the other. Hence the questions arise, first, what is the nature of the di novensides or of the di indigetes, and whether either of these questions has been satisfactorily answered; secondly, is it possible to establish any relationship between these two groups of deities, and can such a relation be usedas a starting-point from which to investigate the nature of the other group? In choosing this line of research it seems to me that an attempt to solve the problem of the novensides rather than that of the indigetes promises greater success. I shall, therefore, treat the di novensides in the first part of this paper.


2020 ◽  
pp. 290-295
Author(s):  
E. I. Samorodnitskaya

The monograph of the American scholar Joseph A. Kestner is devoted to Victorian novels and stories that feature a female detective protagonist. The author introduces a large volume of little studied texts written in the period from 1864 to 1913, which he explores to follow the process of the female detective character taking shape, noting its specific structural and sociocultural traits as well as features of narration. As a literary example and a starting point, the author considers the character of the amateur detective Sherlock Holmes: it is in comparison and polemic with him that the character of a female detective is formed in the subsequent literary tradition. In recognizing realistic prose as documentary evidence, the author painstakingly reconstructs the historical context, mostly in the area of gender issues. This enables him to shed a new light on the origins of English detective writing, while not without certain limitations.


JOGED ◽  
2019 ◽  
Vol 10 (1) ◽  
pp. 1-15
Author(s):  
Anter Asmorotedjo

Tari berjudul Bali Jawi, sebuah karya yang terinspirasi dari sebuah ritual tradisi Jawa yang sering disebut dengan sowan leluhur. Ritual tersebut sering dilakukan oleh masyarakat penganut paham spiritual Jawa atau yang sering disebut dengan kejawen. Ritual sowan leluhur dipercaya sebagai warisan para leluhur Nuswantara. Para pelaku spiritual Jawa percaya bahwa para leluhur selalu njampangi anak cucunya, maka ritual tersebut sebagai wujud bakti dan bukti memuliakan para leluhurnya. Salah satu situs yang sering dikunjungi untuk ritual tersebut adalah Watu Gilang di Kotagede yang merupakan singgasana raja peninggalan kerajaan Mataram. Dari ritual yang dilakukan, banyak nilai-nilai luhur yang terkandung di dalamnya. Tetapi di era modern saat ini ritual semacam itu sudah banyak ditinggalkan orang. Orang Jawa sendiri semakin menjauh bahkan tidak mengenal ritual semacam itu. Ironisnya ritual semacam itu dianggap sebagai tindakan yang menyesatkan. Padahal realitanya banyak ajaran kebaikan serta nilai-nilai keluhuran yang ada. Akibatnya orang Jawa semakin kehilangan jati dirinya sebagai manusia Jawa. Nilai-nilai luhur manusia Jawa semakin luntur dan banyak orang Jawa yang kehilangan identitasnya, Wong Jawa Ilang Jawane. Melihat realita yang terjadi terkait nilai-nilai luhur Jawa yang mulai luntur, didukung pengalaman empiris, serta proses refleksi diri memunculkan suatu energi untuk mengangkat persoalan tersebut dalam sebuah karya tari agar manusia Jawa kembali menjadi Jawa. Situs Watu Gilang sebagai tempat yang dijadikan sebagai titik awal penelitian artistik dalam penciptaan karya ini. Hasil riset di lapangan, informasi dari berbagai sumber, serta referensi dari literasi yang ditemukan dijadikan sebagai kekuatan karya Bali Jawi. Gagasan ditransformasikan ke dalam simbol-simbol ketubuhan, musik, properti, serta elemen pendukung lainnya. Simbol-simbol yang dihadirkan diharapkan mampu menginspirasi dalam upaya menghidupkan kembali nilai-nilai luhur manusia Jawa. Pencipta tari mencoba melihat kembali masa lalu yang dikaitkan dengan masa kini, sebagai bekal untuk membaca dan melihat masa depan. Nilai-nilai luhur manusia Jawa kembali para ranahnya, dan menjadi gerbang awal menuju kejayaan Nuswantara. The dance Bali Jawi is inspired by a ritual from the Javanese culture that used to called sowan leluhur; it is a ritual where people do an ancestral pilgrimage. This ritual is often done by a Javanese spiritual person or in Javanese culture called kejawen. The ancestral pilgrimage, sowan leluhur ritual is believed as a Nuswantara heritage. The Javanese spiritual person believes that their ancestors are always njampangi; a term in Javanese means „keep watching from a distance‟ their posterity. So, this ritual is often believed as a devotional form to the ancestors. One of the site that often be visited for this ritual is Watu Gilang at Kotagede that was the throne of a king of Mataram Kingdom. There are a lot of honorable values of Java in this ritual. In the other hand, this kind of ritual has been forgotten in this modern era. Javanese people tend to make a distance from this kind of ritual. Ironically, they also tend to consider this kind of ritual as a misguiding doctrine while the fact is there are so many values of kindness included in it. This reality, ironically, make the Javanese people lost their Javanese identity. The honorable values as a Javanese human faded day by day and most of them get lost; it is called “Wong Jawa Ilang Jawane”. Witnessing this reality that the Javanese honorable values begin to be faded, supported by empirical experiences, and also self-reflection brings out energy to raise this issue into a dance work. The Watu Gilang site is the starting point of the artistic research in this dance work creation. The result of the field research, literature research, and information gathered from various resources are processed to be a power from the dance Bali Jawi. The ideas are transformed into bodily symbols, music, dance properties, and other supporting elements. Every symbol presented on this dance are expected to tell the meaning and core values of the dance itself so Bali Jawi could be a meaningful yet high-quality that has honorable values of Java. The dance work is as well expected to inspire people in order to revive Javanese human honorable values. The choreographer is trying to look back to the past and connect it with the present time, as a provision to understand and forecast the future. The honorable values of Javanese human are back to its realm and become the initial gate into the glory of Nuswantara.


JOGED ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 1-15
Author(s):  
Anter Asmorotedjo

Tari berjudul Bali Jawi, sebuah karya yang terinspirasi dari sebuah ritual tradisi Jawa yang sering disebut dengan sowan leluhur. Ritual tersebut sering dilakukan oleh masyarakat penganut paham spiritual Jawa atau yang sering disebut dengan kejawen. Ritual sowan leluhur dipercaya sebagai warisan para leluhur Nuswantara. Para pelaku spiritual Jawa percaya bahwa para leluhur selalu njampangi anak cucunya, maka ritual tersebut sebagai wujud bakti dan bukti memuliakan para leluhurnya. Salah satu situs yang sering dikunjungi untuk ritual tersebut adalah Watu Gilang di Kotagede yang merupakan singgasana raja peninggalan kerajaan Mataram. Dari ritual yang dilakukan, banyak nilai-nilai luhur yang terkandung di dalamnya. Tetapi di era modern saat ini ritual semacam itu sudah banyak ditinggalkan orang. Orang Jawa sendiri semakin menjauh bahkan tidak mengenal ritual semacam itu. Ironisnya ritual semacam itu dianggap sebagai tindakan yang menyesatkan. Padahal realitanya banyak ajaran kebaikan serta nilai-nilai keluhuran yang ada. Akibatnya orang Jawa semakin kehilangan jati dirinya sebagai manusia Jawa. Nilai-nilai luhur manusia Jawa semakin luntur dan banyak orang Jawa yang kehilangan identitasnya, Wong Jawa Ilang Jawane. Melihat realita yang terjadi terkait nilai-nilai luhur Jawa yang mulai luntur, didukung pengalaman empiris, serta proses refleksi diri memunculkan suatu energi untuk mengangkat persoalan tersebut dalam sebuah karya tari agar manusia Jawa kembali menjadi Jawa. Situs Watu Gilang sebagai tempat yang dijadikan sebagai titik awal penelitian artistik dalam penciptaan karya ini. Hasil riset di lapangan, informasi dari berbagai sumber, serta referensi dari literasi yang ditemukan dijadikan sebagai kekuatan karya Bali Jawi. Gagasan ditransformasikan ke dalam simbol-simbol ketubuhan, musik, properti, serta elemen pendukung lainnya. Simbol-simbol yang dihadirkan diharapkan mampu menginspirasi dalam upaya menghidupkan kembali nilai-nilai luhur manusia Jawa. Pencipta tari mencoba melihat kembali masa lalu yang dikaitkan dengan masa kini, sebagai bekal untuk membaca dan melihat masa depan. Nilai-nilai luhur manusia Jawa kembali para ranahnya, dan menjadi gerbang awal menuju kejayaan Nuswantara. The dance Bali Jawi is inspired by a ritual from the Javanese culture that used to called sowan leluhur; it is a ritual where people do an ancestral pilgrimage. This ritual is often done by a Javanese spiritual person or in Javanese culture called kejawen. The ancestral pilgrimage, sowan leluhur ritual is believed as a Nuswantara heritage. The Javanese spiritual person believes that their ancestors are always njampangi; a term in Javanese means „keep watching from a distance‟ their posterity. So, this ritual is often believed as a devotional form to the ancestors. One of the site that often be visited for this ritual is Watu Gilang at Kotagede that was the throne of a king of Mataram Kingdom. There are a lot of honorable values of Java in this ritual. In the other hand, this kind of ritual has been forgotten in this modern era. Javanese people tend to make a distance from this kind of ritual. Ironically, they also tend to consider this kind of ritual as a misguiding doctrine while the fact is there are so many values of kindness included in it. This reality, ironically, make the Javanese people lost their Javanese identity. The honorable values as a Javanese human faded day by day and most of them get lost; it is called “Wong Jawa Ilang Jawane”. Witnessing this reality that the Javanese honorable values begin to be faded, supported by empirical experiences, and also self-reflection brings out energy to raise this issue into a dance work. The Watu Gilang site is the starting point of the artistic research in this dance work creation. The result of the field research, literature research, and information gathered from various resources are processed to be a power from the dance Bali Jawi. The ideas are transformed into bodily symbols, music, dance properties, and other supporting elements. Every symbol presented on this dance are expected to tell the meaning and core values of the dance itself so Bali Jawi could be a meaningful yet high-quality that has honorable values of Java. The dance work is as well expected to inspire people in order to revive Javanese human honorable values. The choreographer is trying to look back to the past and connect it with the present time, as a provision to understand and forecast the future. The honorable values of Javanese human are back to its realm and become the initial gate into the glory of Nuswantara.


2022 ◽  
Vol 37 (71) ◽  
pp. 143-160
Author(s):  
Marilia Kaisar

Bluetooth-operated sex toys penetrate and are penetrated by the human body, leaving code behind. This article analyzes the relationships that develop between bodies and Bluetooth-operated interactive sex toys. Resembling the pods and portals of David Cronenberg’s film eXistenZ, interactive sex toys allow us to consider how technologies relate intimately to the sexual body. I use Massumi’s work on virtuality and affect theory as a starting point from which to frame embodiment, virtuality, and the circulation of affects. Further, I consider the importance of embodiment and the translations of intensities and vibrations through digital coding among the open sexual body, the technology of the sexual machine, and the applications that foster those connections, in the context of Bluetooth-operated sex toys. This article advocates the need to consider intimate encounters between interactive sex toys and bodies as complex technological and biological assemblages, where vibrating machines and the human body’s flesh come into intimate connection through datafication.


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