A {\em Roman dominating function} on a graph $G$ is a function $f:V(G)\rightarrow \{0,1,2\}$ satisfying the condition that every vertex $u$ for which $f(u) = 0$ is adjacent to at least one ...vertex $v$ for which $f(v) =2$. A {\em restrained Roman dominating} function $f$ is a Roman dominating function if the vertices with label 0 induce a subgraph with no isolated vertex. The weight of a restrained Roman dominating function is the value $\omega(f)=\sum_{u\in V(G)} f(u)$. The minimum weight of a restrained Roman dominating function of $G$ is called the { \em restrained Roman domination number} of $G$ and denoted by $\gamma_{rR}(G)$. In this paper we establish some sharp bounds for this parameter.
The role of Greek thought in the final days of the Roman republic is a topic that has garnered much attention in recent years. This volume of essays, commissioned specially from a distinguished ...international group of scholars, explores the role and influence of Greek philosophy, specifically Epicureanism, in the late republic. It focuses primarily (although not exclusively) on the works and views of Cicero, premier politician and Roman philosopher of the day, and Lucretius, foremost among the representatives and supporters of Epicureanism at the time. Throughout the volume, the impact of such disparate reception on the part of these leading authors is explored in a way that illuminates the popularity as well as the controversy attached to the followers of Epicurus in Italy, ranging from ethical and political concerns to the understanding of scientific and celestial phenomena. This title is also available as Open Access on Cambridge Core.
Pozzolanic reaction of volcanic ash with hydrated lime is thought to dominate the cementing fabric and durability of 2000-year-old Roman harbor concrete. Pliny the Elder, however, in first century CE ...emphasized rock-like cementitious processes involving volcanic ash (pulvis) "that as soon as it comes into contact with the waves of the sea and is submerged becomes a single stone mass (fierem unum lapidem), impregnable to the waves and every day stronger" (Naturalis Historia 35.166). Pozzolanic crystallization of Al-tobermorite, a rare, hydrothermal, calcium-silicate-hydrate mineral with cation exchange capabilities, has been previously recognized in relict lime clasts of the concrete. Synchrotron-based X-ray microdiffraction maps of cementitious microstructures in Baianus Sinus and Portus Neronis submarine breakwaters and a Portus Cosanus subaerial pier now reveal that Al-tobermorite also occurs in the leached perimeters of feldspar fragments, zeolitized pumice vesicles, and in situ phillipsite fabrics in relict pores. Production of alkaline pore fluids through dissolution-precipitation, cation-exchange and/or carbonation reactions with Campi Flegrei ash components, similar to processes in altered trachytic and basaltic tuffs, created multiple pathways to post-pozzolanic phillipsite and Al-tobermorite crystallization at ambient seawater and surface temperatures. Long-term chemical resilience of the concrete evidently relied on water-rock interactions, as Pliny the Elder inferred. Raman spectroscopic analyses of Baianus Sinus Al-tobermorite in diverse microstructural environments indicate a cross-linked structure with Al3+ substitution for Si4+ in Q3 tetrahedral sites, and suggest coupled Al3++Na+ substitution and potential for cation exchange. The mineral fabrics provide a geoarchaeological prototype for developing cementitious processes through low-temperature rock-fluid interactions, subsequent to an initial phase of reaction with lime that defines the activity of natural pozzolans. These processes have relevance to carbonation reactions in storage reservoirs for CO2 in pyroclastic rocks, production of alkali-activated mineral cements in maritime concretes, and regenerative cementitious resilience in waste encapsulations using natural volcanic pozzolans.
The Araxes flowing through the Armenian Highlands was one of the rivers mentioned quite often in Roman poetry from the Augustan Age up to the 5th century. In line with the traditional tendency of ...classical literature, the Araxes was usually shown as a pars pro toto of a country, in this case Armenia, which was one of the aims of the Roman eastern policy and the object of rivalry between the Empire and Parthia/Persia. The great majority of references to the Araxes was connected with the theme of Roman expansion in the East (especially with the campaign of Tiberius in 20 BC and later with the Roman-Parthian war 58–63 AD), which can be observed best in the recurrent motif of a bridge across this river, a clear-cut symbol of Roman domination over Armenia and – more generally – over all of the East.
Inscriptions on the monument: On the main face of the socket: “MORTS FOR THE FOUR” NUMBER OF EROI (71)
Monument, realizat din beton și mozaic, alcătuit din volume diferențiate și fixat pe un ...postament în trepte. Pe volumul principal sunt prinse plăci, din marmură, inscripționate cu numele eroilor evrei căzuți în Primul Război Mondial. În partea superioară a monumentului este fixată reprezentarea unui vultur. Monumentul este împrejmuit cu un gard scund, realizat din fier și stâlpi din beton. Înălțime (h) monument = 5,84m/ l = 1,20m. Dimensiuni postament = B = 4,50m/ l = 2,50m.
Mențiuni despre monument: Autor: Comitetul „Societății Sacre”. Stare bună de conservare. Atelier școală: G. Tomat.
Inscripții pe monument: Pe fața principală a soclului: „MORȚI PENTRU PATRIE” NUME DE EROI (71)
Monument, realizat din beton și mozaic, alcătuit din volume diferențiate și fixat pe un postament în trepte. Pe volumul principal sunt prinse plăci, din marmură, inscripționate cu numele eroilor evrei căzuți în Primul Război Mondial. În partea superioară a monumentului este fixată reprezentarea unui vultur. Monumentul este împrejmuit cu un gard scund, realizat din fier și stâlpi din beton. Înălțime (h) monument = 5,84m/ l = 1,20m. Dimensiuni postament = B = 4,50m/ l = 2,50m.
Mențiuni despre monument: Autor: Comitetul „Societății Sacre”. Stare bună de conservare. Atelier școală: G. Tomat.
Inscripții pe monument: Pe fața principală a soclului: „MORȚI PENTRU PATRIE” NUME DE EROI (71)
Baron Roman Fedorovich von Ungern-Sternberg (1885-1921) was a Baltic German aristocrat and tsarist military officer who fought against the Bolsheviks in Eastern Siberia during the Russian Civil War. ...From there he established himself as the de facto warlord of Outer Mongolia, the base for a fantastical plan to restore the Russian and Chinese empires, which then ended with his capture and execution by the Red Army as the war drew to a close.
In The Baron's Cloak, Willard Sunderland tells the epic story of the Russian Empire's final decades through the arc of the Baron's life, which spanned the vast reaches of Eurasia. Tracking Ungern's movements, he transits through the Empire's multinational borderlands, where the country bumped up against three other doomed empires, the Habsburg, Ottoman, and Qing, and where the violence unleashed by war, revolution, and imperial collapse was particularly vicious. In compulsively readable prose that draws on wide-ranging research in multiple languages, Sunderland recreates Ungern's far-flung life and uses it to tell a compelling and original tale of imperial success and failure in a momentous time.
Sunderland visited the many sites that shaped Ungern's experience, from Austria and Estonia to Mongolia and China, and these travels help give the book its arresting geographical feel. In the early chapters, where direct evidence of Ungern's activities is sparse, he evokes peoples and places as Ungern would have experienced them, carefully tracing the accumulation of influences that ultimately came together to propel the better documented, more notorious phase of his career
Recurring throughout Sunderland's magisterial account is a specific artifact: the Baron's cloak, an essential part of the cross-cultural uniform Ungern chose for himself by the time of his Mongolian campaign: an orangey-gold Mongolian kaftan embroidered in the Khalkha fashion yet outfitted with tsarist-style epaulettes on the shoulders. Like his cloak, Ungern was an imperial product. He lived across the Russian Empire, combined its contrasting cultures, fought its wars, and was molded by its greatest institutions and most volatile frontiers. By the time of his trial and execution mere months before the decree that created the USSR, he had become a profoundly contradictory figure, reflecting both the empire's potential as a multinational society and its ultimately irresolvable limitations.
No genre manifests the pleasure of reading—and its power to consume and enchant—more than romance. In suspending the category of the novel to rethink the way prose fiction works, Without the Novel ...demonstrates what literary history looks like from the perspective of such readerly excesses and adventures.
Rejecting the assumption that novelistic realism is the most significant tendency in the history of prose fiction, Black asks three intertwined questions: What is fiction without the novel? What is literary history without the novel? What is reading without the novel? In answer, this study draws on the neglected genre of romance to reintegrate eighteenth-century British fiction with its classical and Continental counterparts. Black addresses works of prose fiction that self-consciously experiment with the formal structures and readerly affordances of romance: Heliodorus’s Ethiopian Story , Cervantes’s Don Quixote , Fielding’s Tom Jones , Sterne’s Tristram Shandy , and Burney’s The Wanderer . Each text presents itself as a secondary, satiric adaptation of anachronistic and alien narratives, but in revising foreign stories each text also relays them. The recursive reading that these works portray and demand makes each a self-reflexive parable of romance itself. Ultimately, Without the Novel writes a wider, weirder history of fiction organized by the recurrences of romance and informed by the pleasures of reading that define the genre.
Scholars have traditionally relied upon the assumption that the nineteenth- century bildungsroman in the Goethean tradition is an intrinsically secular genre exclusive to Europe, incompatible with ...the literature of a democratically based culture. By combining intellectual history with genre criticism, Principle and Propensity provides a critical reassessment of the bildungsroman, beginning with its largely overlooked theological premises: bildung as formation of the self in the image of God. Kelsey L. Bennett examines the dynamic differences, tensions, and possibilities that arise as interest in spiritual growth, or self-formation, collides with the democratic and quasi-democratic culture in the nineteenth-century British and American bildungsroman. Beginning with the idea that interest in an individual's moral and psychological growth, or bildung, originated as a religious exercise in the context of Protestant theological traditions, Bennett shows how these traditions found ways into the bildungsroman, the literary genre most closely concerned with the relationship between individual experience and self- formation. Part 1 of Principle and Propensity examines the attributes of parallel national traditions of spiritual self-formation as they convened under the auspices of the international revival movements: the Evangelical Revival, the Great Awakening, and the renewal of Pietism in Germany, led respectively by John Wesley, Jonathan Edwards, and Count Nikolaus Ludwig Zinzendorf. Further it reveals the ways in which spiritual self-formation and the international revival movements coalesce in the bildungsroman prototype, Johann Wolfgang von Goethe's Wilhelm Meisters Lehrjahre (Wilhelm Meister's Apprenticeship). Part 2 in turn explores the ways these traditions manifest themselves in the nineteenth-century bildungsroman in England and the United States through Jane Eyre, David Copperfield, Pierre, and Portrait of a Lady. Though Wilhelm Meisters Lehrjahre was a library staple for most serious writers in nineteenth-century England and in the United States, Bennett shows how writers such as Charlotte Brontë, Charles Dickens, Herman Melville, and Henry James also drew on their own religious traditions of self-formation, adding richness and distinction to the received genre.
"Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable ...examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of "style as a concept of expression," an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world."
À Rome, la dignité était au cœur de la hiérarchie civique. Dès lors, les citoyens qui ne répondaient plus aux attentes liées à leur rang étaient déclassés et perdaient certains droits. Devenus ...infâmes, ils jouissaient désormais d’une citoyenneté amoindrie. Ce livre est consacré à ces formes de dégradations civiques prononcées par un représentant de la cité et pour un motif moral. Le choix de la prosopographie (catalogue disponible en ligne) ainsi que d’une approche globale et diachronique a permis de proposer une synthèse renouvelée sur l’infamie. Cela passe d’abord par une étude d’ensemble des peines infamantes de la discipline militaire et surtout du regimen morum des censeurs. On saisit ainsi combien ces spectacles du déshonneur caractérisaient la culture politique romaine et contribuaient à définir le mos maiorum, tandis que le problème des candidats aux élections déboutés pour indignité en dessine les limites. Se pose ensuite la question des peines prescrites par les lois pénales et des réglementations écartant de diverses fonctions (témoins, juges, décurions…) certaines catégories de citoyens méprisés de longue date, comme les acteurs, les gladiateurs, ou les prostitués. Cette analyse dévoile un phénomène de juridicisation de l’infamie amorcé à partir du IIe siècle avant J.‑C. Mais l’on ne peut se passer d’un examen des infâmes eux-mêmes : leurs origines, leur situation et les possibilités de sortir de leur condition. L’étude des formes d’infamie révèle ainsi en négatif la définition du bonus ciuis et les attentes des Romains envers leurs dirigeants. La question de l’évaluation morale du citoyen dans la société d’ordres qu’était Rome conduit à une histoire de la citoyenneté romaine sur la longue durée : c’est donc une réflexion sur le caractère méritocratique de la hiérarchie civique et sur le mode de légitimation de l’aristocratie qui est proposée ici.
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