bluuebunny/crossref_metadata_2025_split huggingface dataset:
Scaling laws for jets of single cavitation bubbles
Authors: Supponen Outi , Obreschkow Danail , Tinguely Marc , Kobel Philippe , Dorsaz Nicolas , Farhat Mohamed 
Published: August 2016

Fast liquid jets, called micro-jets, are produced within cavitation bubbles experiencing an aspherical collapse. Here we review micro-jets of different origins, scales and appearances, and propose a unified framework to describe their dynamics by using an anisotropy parameter $\unicode[STIX]{x1D701}\geqslant 0$, representing a dimensionless measure of the liquid momentum at the collapse point (Kelvin impulse). This parameter is rigorously defined for various jet drivers, including gravity and nearby boundaries. Combining theoretical considerations with hundreds of high-speed visualisations of bubbles collapsing near a rigid surface, near a free surface or in variable gravity, we classify the jets into three distinct regimes: weak, intermediate and strong. Weak jets ($\unicode[STIX]{x1D701}<10^{-3}$) hardly pierce the bubble, but remain within it throughout the collapse and rebound. Intermediate jets ($10^{-3}<\unicode[STIX]{x1D701}<0.1$) pierce the opposite bubble wall close to the last collapse phase and clearly emerge during the rebound. Strong jets ($\unicode[STIX]{x1D701}>0.1$) pierce the bubble early during the collapse. The dynamics of the jets is analysed through key observables, such as the jet impact time, jet speed, bubble displacement, bubble volume at jet impact and vapour-jet volume. We find that, upon normalising these observables to dimensionless jet parameters, they all reduce to straightforward functions of $\unicode[STIX]{x1D701}$, which we can reproduce numerically using potential flow theory. An interesting consequence of this result is that a measurement of a single observable, such as the bubble displacement, suffices to estimate any other parameter, such as the jet speed. Remarkably, the dimensionless parameters of intermediate and weak jets ($\unicode[STIX]{x1D701}<0.1$) depend only on $\unicode[STIX]{x1D701}$, not on the jet driver (i.e. gravity or boundaries). In the same regime, the jet parameters are found to be well approximated by power laws of $\unicode[STIX]{x1D701}$, which we explain through analytical arguments.
The lion, the king and the cage: Late Chalcolithic iconography and ideology in northern Mesopotamia
Authors: McMahon Augusta 
Published: August 2016

AbstractRecent excavations at Tell Brak, Syria, have explored the site's early urban expansion, including excavation of Late Chalcolithic mass graves in a small mound at the site's outer edge. This mound built up rapidly and is primarily composed of industrial rubbish, particularly ceramics and flint debitage. The rubbish layers also contained nearly one thousand clay container sealings bearing stamp-seal impressions. The most important images represented are human figures in combat with lions, and caged single lions. These images date to ca 3800 BC and are evidence for the early development of the iconography and ideology of power and leadership.
After the fall of Babylon: A new look at the presentation scene on Assurbanipal relief BM ME 124945–6
Authors: Novotny J. , Watanabe C. E. 
Published: August 2016

BM ME 124945–6, a relief of Assurbanipal, was discovered in the ruins of Room M (the so-called ‘Throne Room’) of the North Palace in the Assyrian capital of Nineveh, and is now on display in the British Museum (Fig. 1). The slabs are divided into two registers: an upper register and a lower register, which are separated by a broad wavy band, each side of which forms the bank of a river. Two rivers flow horizontally in parallel in the centre of the slabs. The presentation scene appears in the lower register, which shows the Assyrian king Assurbanipal (668–631 BC) reviewing war spoils taken from Babylon after the city was captured by the Assyrian army in late 648 BC. The aim of this paper is to examine the spoils represented on the relief and, by carefully analysing Assurbanipal's inscriptions, to clarify how textual accounts of the event or events are reflected in the narrative scheme of the composition.The presentation scene is further divided into three rows by simple horizontal lines, each forming a ground line that normally indicates the recession of space based on the principle of “vertical perspective” in which distant figures are placed higher than nearer ones. The king is represented on the right of the scene, occupying the upper and middle rows (Fig. 2). He is mounted on a chariot and is accompanied by courtiers and soldiers who all face to the left of the scene. An epigraph is engraved above the horses of the king's chariot. On the far side of the scene, Assyrian soldiers, in the upper row, proceed towards the king. The first person is a eunuch raising his right hand; he is followed by a bearded man (Fig. 3). Then there are three soldiers, each holding a particular item of booty (Fig. 4). These men are followed by two wheeled vehicles: one is carried on the shoulders of several men (Fig. 5) and the other pulled by a group of soldiers (Fig. 6). To the far left of the scene, prisoners are led away by soldiers. In the middle row, four foreigners face right (Fig. 7), and behind them stand two scribes making a record in front of one pile of bows and quivers and another of severed heads (Fig. 8). More soldiers follow from the left with a team of horses. The lower row shows a procession of prisoners; all of them move from left to right (Fig. 9). To the far left, there are two sets of chariots, the horses of which are being led by soldiers (Figs. 10 and 11). The overall composition, except for the lower row, is arranged symmetrically facing to the centre, with special emphasis on the king.
Plate LIII from Til-Barsip: The left-handed Assyrian king
Authors: Poisel Timothy J. 
Published: August 2016

AbstractIdentification of different iconographic features has allowed modern scholars to argue cases for several possible candidates responsible for the commissioning and representation within Plate LIII. Due to minor characteristically different chariots and artistic techniques, scholars have made widely divergent claims about the origins of the wall paintings that were found at Til-Barsip. In this paper I contend that one vital iconographic factor has been overlooked by modern scholarship and that it is the key to proving that a specific Assyrian king was responsible for Plate LIII. It is concluded that the Assyrian king depicted in the Til-Barsip wall painting was left-handed and by a process of elimination can be none other than Esarhaddon.
“Those Old Assyrian Legends”: Der Wiederentdeckten Kurzfilm La Regina di Ninive (Italien 1911)
Authors: Heilmann Regina 
Published: August 2016

Während vieler Jahrzehnte wurden sogenannte Antik-, Monumental-, Kolossal- oder Sandalenfilme von Seiten der Altertumswissenschaften kaum beachtet, da sie mit dem wissenschaftlichen Verständnis antiker Kulturen nur wenig zu tun haben — die Geschichtsphilosophie der Filme ist meistens simpel und im Vordergrund steht das Spektakel. Doch das Phänomen der großen Beliebtheit dieser Filme — vor allem in den 1910/1920er sowie den 1950/1960er Jahren — rechtfertigt eine Untersuchung dieses artifiziellen und virtuellen Antikenbildes seitens der Altertumswissenschaft. Diese hat vor allem in den letzten fünf Jahren zunehmend an Bedeutung gewonnen.In allen filmproduzierenden Ländern wurden von Anfang an die einschlägig bekannten antiken sowie biblischen Themen und Legenden als Filmstoff aufgegriffen. Dies geschah zum einen, weil sie einem Großteil des anvisierten Publikums vertraut waren und daher eine gewisse universale Gültigkeit aufwiesen. Zum anderen eigneten sich solche Sujets aufgrund ihrer Inhalte und narrativen Struktur hervorragend für eine spektakuläre, den Zuschauer in ihren Bann ziehende Inszenierung. Erzählungen aus dem Alten und Neuen Testament sowie aus der antiken Geschichte und Mythologie lieferten auch diesem Medium “große Stoffe”. Freilich mussten sie, wie beispielsweise das Buch Judit oder der seit Ktesias' tradierte Mythos der Semiramis, für die frühesten Filmproduktionen extrem verkürzt werden, so dass in aller Regel nur Kernstücke oder dramatische Höhepunkte umgesetzt wurden. Bezüglich des Alten Orients ist bemerkenswert, dass der frühe Film nahezu ausschließlich all diejenigen Sujets und Motive aufgriff, die sich spätestens im 19. Jahrhundert durch die Blütezeit des Orientalismus sowie aufgrund der beeindruckenden Funde aus den großen Ausgrabungen in Vorderasien zum festen Themenrepertoire einer populärkulturellen Vorstellung vom antiken Mesopotamien konsolidiert hatten.
The Vassal-Treaties of Esarhaddon
Authors: Wiseman D. J. 
Published: August 2016

The sixth (1955) season of excavation by the British School of Archaeology in Iraq at Nimrud (ancient Kalḫu, Biblical Calah) was mainly devoted to clearing buildings in the south-eastern corner of the akropolis. One building to the north of Ezida, the temple of Nabu, contained a long Throne-room (SEB2) where lay a varied collection of ivories and bronzes from Assyrian furniture broken when the building was destroyed by fire. Amid this debris more than three hundred and fifty fragments of baked clay tablets were found scattered in the north-west corner of the room between the dais which once supported the royal throne and the door leading to a small ante-chamber (NTS3). Some fragments were also found in the southern doorway of the Throne-room and in the adjacent courtyard (Fig. 1). It will probably never be known with certainty, whether the documents had once been housed in this room or thrown there when the building was sacked by the Medes about 612 B.C. A special room (NT12) in the neighbouring Nabu Sanctuary seems to have been set aside for the use of scribes and for the storage of tablets and this may have been their original location.These fragments proved to be parts of a few large tablets of which one was reconstituted in the field. Miss Barbara Parker, who was present at the time of discovery, soon identified the text as a treaty made in 672 B.C. by Esarhaddon, king of Assyria (681–669 B.C.), with a chieftain of the Medes named Ramataia of Urukazaba(r)na. The remaining texts were duplicates except that they named different city-govenors, or chieftains, as the other party to the agreement. The dated fragments bear the same Eponym year-date of 672 B.C. With commendable speed Miss Parker published a brief report based on her preliminary reading of about three hundred lines of the Ramataia text and some of the fragments.
The Work of Tragic Productions: Towards a New History of Drama as Labour Culture
Authors: Roselli D.K. 
Published: August 2016

The study of the ancient world has often come under scrutiny for its questionable ‘relevance’ to modern society, but Greek tragedy has proven rather resilient. From tragedy's perceived value in articulating an incomplete but idealised state of political and ethical being in Hegel to its role in thinking through the modern construction of politics and gender (often through a re-reading of Hegel), tragedy has loomed large in modern critical inquiry into definitions of the political and the formation of the subject.’ This is another way of saying that the richly textured tragic text has in some respects laid the foundation for subsequent theorising of the political subject.Given the importance placed on such figures as Sophocles’ Oedipus and Antigone starting with Schelling and Hegel, it is perhaps not surprising that recent work in critical theory has tended to recast these particular tragic figures in its critique of Enlightenment thought. Nonetheless, there are problems with the adoption of these figures as paradigms through which tragedy becomes a tool to represent the ancient Greek polis and to work through modern political and ethical problems. The repeated returns to certain aspects of Oedipus or Antigone have contributed to a structured silence around the issue of class relations. Along with the increasingly dominant role of neoliberalism and the continuing importance of identity politics, much recent critical theory has contributed to the occlusion of class and labour from public discourse and academic research. In such a climate, it is no wonder that historical materialism rarely figures in academic works. I wonder whether another narrative is possible through the study of Greek tragedy.
Double, Double: Two African Medeas
Authors: Malamud Martha 
Published: August 2016

When Seneca's Medea flies off in her serpent-drawn chariot, shedding ruin, heartbreak and death and leaving it all behind her on the stage, we are too stunned to wonder where she might be headed. As it turns out, this enterprising exile continued her career with great success in Roman Africa. This essay considers two remarkable Later Roman Medeas: Hosidius Geta's early third (?) century tragedy Medea and Dracontius' late fifth century epyllion Medea. Both were products of the flourishing, experimental, literary culture of Roman Africa that produced such writers as Apuleius, Tertullian, Augustine, Corippus, Martianus and Fulgentius. Although the two poems present radically different heroines, both exhibit the sophisticated allusivity, wordplay and interest in formal structures and rules that characterise Latin literature from Africa. One Medea makes a lethal intervention in Vergilian poetics; the other Medea channels a distinctively Statian Muse.Hosidius Geta's Medea is a short tragedy consisting of eight scenes and three choral songs that recounts the familiar events of Medea's vengeance in an unfamiliar form—it is the first extant example from antiquity of a cento. Mystery shrouds the origins of this Medea—we are unlikely ever to know for certain where, when or by whom it was written. It is probably a late second or very early third century text from Roman Africa. It is first mentioned by Tertullian, who brings it up as an example of the kind of improper manipulation of scripture perpetrated by heretical readers—that is, as a perverted form of reading. Tertullian's digressive expostulation is the first account we have both of Hosidius' Medea and of the cento form, i.e., the creation of poems made entirely from lines or half lines of a master-text. Tertullian's wording, however, implies that his readers will immediately recognise what a cento is, suggesting that this art form had been around for a long time. More interestingly, in light of the later Christian adoption of the cento form, he disapproves of the reading practices their composition implies, and finds Scripture especially vulnerable to such abuse. It is not hard to see why the fundamentalist preacher Tertullian would be alarmed by the poetics of the cento, for centos expose the multivalent nature of language, forcing the reader constantly to focus on the protean ability of words to change their meanings depending on context. To one whose goal is to establish truth according to the authoritative rule of faith, such linguistic play is threatening.
Passing Over Cephisos' Grandson: Literal Praeteritio and the Rhetoric of Obscurity in Ovid Met. 7.350-93
Authors: Cowan Robert 
Published: August 2016

After tricking Pelias' daughters into killing their father, Ovid's metamorphic Medea flies in her (future reflexive) Euripidean dragon chariot from Thessaly to Corinth by a very circuitous route. In so doing, she performs a physical and narrativepraeteritio, passing rapidly over both the landscape and its local myths, which remain unnarrated. This article will reflect on some of the metapoetic connotations of thepraeteritioand its rhetoric of obscurity, and propose an identification for one of the most obscure of the figures over whom Medea passes. It will also identify a technique whereby Ovid plays with concepts of obscurity anddoctrinato unmask and dramatise a common reading practice.Medea's literal enactment of a rhetorical strategy is one among many instances in the poem of the reification of figurative language, an operation which most commonly takes place in the process of metamorphosis or the depiction of personifications, but by no means always. Among such reifications, the particular instance of the ‘literalpraeteritio’ has antecedents in Apollonius’Argonautica, where the Argonauts ‘passed by’ (παϱάμειβον) Calypso's island, and in Virgil'sAeneid, where Aeneas and the Trojans on at least three occasions pass by sites such as Ithaca, the land of the Phaeacians, and Circe's island. In each of these four cases the epic narrator is also ‘passing over’ the Odyssean narrative associated with the site.
Dealing with Ghosts: Literary Assertion in Statius' Thebaid
Authors: Parkes Ruth 
Published: August 2016

Chthonic scenes have often been considered in terms of their metapoetic potential. The very nature of such episodes, in which protagonists typically encounter characters from the literary-mythological past, arguably encourages a kind of artistic self-consciousness. In Currie's words,Anekyiamay be an especially fitting place for a poem to explore self-reflectively its relationship to earlier poetry: to confront its own literary ghosts.This article examines whether the portrayal of ghosts in the necromancy of StatiusThebaidBook 4 can be read as a meditation on the poem's place in the literary tradition. It views the scene as a commentary on the epic's artistic practices, wherein Statius both acknowledges his predecessors, especially Ovid and Seneca, and asserts his own literary contribution through the appearance of the ambushers depicted earlier in the poem. It then argues that Statius validates his place in the canon by enacting the integration of the ambush scene into literary and Theban history.
The Elegiac Ass: The Concept of Servitivm Amoris in Apuleius' Metamorphoses
Authors: Hindermann Judith 
Published: August 2016

Seruitium amoris, the notion of love as slavery, is a frequent theme in Roman elegy. It inverts Roman reality in representing a free Roman citizen dominated by a woman, evidently from a lower social class. The elegiacamator(‘lover’) elevates his belovedpuella(‘girl’) and treats her as a slave would treat his mistress (domina), obeying her orders and yielding to her wishes and moods. Although it has been widely observed that Lucius, the protagonist of Apuleius'Metamorphoses, acts like a slave towards his beloved, the slave girl Fotis, the idea of elegiacseruitium amorishas not been analysed systematically as an explanation of this strange relationship, and affinities between theMetamorphosesand Roman elegy have even been denied altogether. To date, most investigations have focused not on the mode but on the consequences of Lucius' servile behaviour, culminating in his transformation into an ass and a series of painful adventures brought to an end by the intervention of the goddess Isis.My discussion will argue that in presenting Lucius and Fotis as an elegiac couple, Apuleius adds yet another form of love to the broad spectrum of relationships between the sexes that he presents in theMetamorphoses. It will also contend that by introducing the theme ofseruitium amoris, he helps his audience interpret the complex and richly described relationship between protagonist and slave, a key theme throughout the work.
Ec[H]Oing the Ass-Novel: Reading and Desire in Onos, Metamorphoses and the Name of the Rose
Authors: Mheallaigh Karen Ní 
Published: August 2016

Until then I had thought each book spoke of the things, human or divine, that lie outside books. Now I realised that not infrequently books speak of other books: it is as if they spoke among themselves. In the light of this reflection, the library seemed all the more disturbing to me. It was then a place of a long centuries-old murmuring, an imperceptible dialogue between one parchment and another, a living thing…Umberto EcoThe Name of the Roseat ego tibi sermone isto Milesio uarias fabulas conseram auresque tuas beniuolas lepido susurro permulceam… (But I would join together a variety of tales for you in that Milesian mode, and I would enchant your kindly ears with a charming murmur…)The speaking book? ApuleiusMetamorphosesIn the chapter called ‘Terce’ of the Second Day, the Franciscan monk William of Baskerville and his young apprentice Adso visit the scriptorium of an abbey in northern Italy, and discover, among the papers of the murdered Greek translator Venantius, a surprising text:Another Greek book was open on the lectern, the work on which Venantius had been exercising his skill as translator in the past days. At that time I knew no Greek, but my master read the title and said this was by a certain Lucian and was the story of a man turned into an ass. I recalled then a similar fable by Apuleius, which, as a rule, novices were strongly advised against reading.(Eco,The Name of the Rose, 128)
Four Off-Stage Characters in Euripides' Hecuba
Authors: Coo Lyndsay 
Published: August 2016

But off-stage characters can have value, a great deal of value, if selectively handled.… Pick them with care, imagine them well, and they can do more for you than they could had they been brought on.J. van Druten,Playwright at Work(London 1953), 117f.The study of off-stage characters—by which I mean human characters with a physical presence within the world and setting of the play, but who never actually appear on-stage—is a critical angle seldom applied to Greek tragedy. I hope to show that Euripides'Hecubaparticularly repays this unorthodox approach. Its on-stage characters are complemented by crucially important offstage figures, and I shall focus on the four who are of greatest importance forHecuba: Achilles, Neoptolemus, Cassandra and Helen. My investigation will be structured around the following questions:• What traditions were associated with these characters beforeHecuba, and what resulting preconceptions might Euripides' audience have held about them?• How are these characters represented by the on-stage characters, and with what effect?• What is the symbolic effect of the absence of these characters?Taken together, the answers to these questions will provide a new reading ofHecuba, revealing how Euripides' choices over which characters to feature offstage and how to represent them contribute to the overall themes of the tragedy. My exploration will lead to me engage with many issues of interpretation, both literary and textual. I hope to show that Euripides' decision to keep a character off-stage is as deliberate and strategic as the decision to feature one prominently on-stage.
Re-Constructing Relationships: The Significance of Name and Place in Propertius 3.22
Authors: Weinlich Barbara P. 
Published: August 2016

Why does the Propertian speaker include a celebration of Rome,Elegy3.22, in his third book of love elegies? Why does he address himself to Tullus, a name that appeared the last time inElegy1.22, the closing poem of theMono-biblos?By paying attention to the nature of the elegy's topic rather than to the nature of the elegiac discourse, past and current Propertian scholarship fails to recognise the subtle and, at first sight, hidden links between the praise of Rome, the choice of the addressee, and the Propertian speaker's effort to re-locate himself in the realm of elegiac love and poetry inElegy3.22.Past scholarship has readElegy3.22 either as a palinode toElegy3.21, the Propertian speaker's decision to leave Rome, or as an indication that Cynthia has been substituted by Rome as another theme. The latter interpretation entailed a discussion about whetherElegy3.22 should be considered pro- or anti-Augustan or a sincere but unsuccessful elegiac tribute to Rome. All contributions offer hermeneutic readings that stem from a time before the critical tools of the ‘New Latin’ movement provided new possibilities for the re-contextuali ation of Roman poetry. Furthermore, both the past and the most recent interpretations ofElegy3.22 are theme-centred as they focus on the praise of Rome, and not on the nature of the Propertian speaker's discourse.