By David Hall, Glenn Foard, Tracey Partida
An Atlas of Northamptonshire provides an ancient atlas of the larger a part of Northamptonshire (the first region having been released as An Atlas of Rockingham Forest). It offers in map shape the result of fieldwork and documentary learn undertaken because the mid-1960s to map the panorama of the complete of Northamptonshire sooner than enclosure by way of Parliamentary Act. this can be the 1st time a complete county has been thoroughly studied during this means, and the 1st time an entire county has had a correct view of its medieval panorama with info of the medieval fields, woods, pastures and meadows which were mapped via ground-survey of archaeological is still proven the place attainable from aerial photos and early maps. it's also the 1st time a county has been mapped displaying all pre-parliamentary enclosure delivering complete facts for the tricky subject matter of early enclosure in a midland county. entire proper old map assets are indexed, many in inner most ownership and never lodged with county checklist workplaces. Settlements are mentioned according to the distinctive mapping of each condo depicted on historical maps as wells the level of earthworks, which supplies a lot new proof relative to payment improvement within the Midlands. in addition to being hugely proper for a person learning medieval settlements and enclosure, it illustrates how GIS can be utilized to offer a really great amount of historic and panorama information for any quarter. The essentially laid out maps in complete color all through comprise a huge quantity of knowledge which jointly supply a desirable new portrait of this old county.
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Additional resources for An Atlas of Northamptonshire: The Medieval and Early-Modern Landscape
The importance of memory in education continued into late antiquity; students learned poems and speeches by heart, and it is said that Alexander the Great could recite whole speeches from Euripides’ plays. In a story that is not necessarily accurate but that is nonetheless signiﬁcant about the power of tragedy, Athenians taken prisoner after their failed attempt to conquer Sicily gained their freedom by reciting Euripides (Plutarch, Nicias 29). The festivals continued into the fourth century; while new plays were written, tragedies by Aeschylus, Sophocles, and Euripides were also produced as “revivals,” which made it almost inevitable that there would be changes to the plays as a result of actors’ interpolations, for example.
The Greeks combined music, dance, high art, and popular appeal into one art form, whereas in our own day these elements are divided. We have to turn to musicals and opera to give us the sense of the formal WHAT WAS TRAGEDY? 31 multiplicity of tragedy, to rock concerts or sporting events to give us the sense of mass appeal and the outdoor experience. The form of Greek tragedy is what was most distinctive about it, yet it is for the stories that we return to the plays over and over again; we shall focus on that dimension in the next chapters, but most extensively in Part II.
The eponymous archon was in charge of the festival; he selected the poets who were going to compete; he also assigned the actors (and arranged for their payment, later in the century). The prizes for writer/director, chorêgos, and best actor were TRAGEDY AND THE POLIS 45 paid for by the city, as were the extensive animal sacriﬁces that began the festival, and of course the city built and maintained the theater. At some point later in the ﬁfth or fourth century, the city established a fund to help pay for tickets for poorer citizens.
An Atlas of Northamptonshire: The Medieval and Early-Modern Landscape by David Hall, Glenn Foard, Tracey Partida