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The name of Virgil’s Volscian heroine Camilla has been a source of scholarly discussion, especially in light of evidence from Varro and Macrobius, citing Callimachus and Pacuvius. Consideration of Virgil’s introduction and presentation of his probable literary invention will show a deliberate intention of highlighting the importance of Callimachus as an intertextual model, not least in Camilla’s anagrammatic association with the Hellenistic poet. [ABSTRACT FROM AUTHOR]

Copyright of Cirugía y Cirujanos is the property of Publicidad Permanyer SLU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Virgil carefully arranges the appearances of the pairs Dido and Anna, Camilla and Acca as an integral part of his commentary on the Trojan progression from Carthage to Italy, and as part of his allegorical reminiscence of Cleopatra at Alexandria and at Actium.

Pindar frequently makes reference to the Aiakid hero Achilles, not least in the account in Nemean 3 of his early hunting exploits while under the tutelage of Cheiron. Careful study of this and related Pindaric passages will illustrate how Virgil employed Pindar's Achilles as one of the diverse literary models for his depiction of the Volscian warrior Camilla in the second half of his Aeneid. [ABSTRACT FROM AUTHOR]

Copyright of Romanitas: Revista de Estudos Greco-Latinas is the property of Universidade Federal do Espirito Santo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The significance of the god Mercury to the drama of the Virgilian Aeneid has not been fully appreciated. Careful consideration of the several appearances of the god in the epic reveals that Mercury is a key figure not only in the Virgilian evocation of the rebellion of the giants against Jupiter, but also in the development of the poet’s presentation of the triumph of the Italian over the Trojan in the final ethnic disposition of affairs in Latium, and that on the mortal plane the god has special significance to a more nuanced appreciation of the importance of the heroine Camilla in the events of the war in Italy.

The moon and lunar phenomena are frequently referenced in Virgil's Aeneid. Close study of these allusions reveals that the poet employs lunar imagery as a key element in his depiction of the characters of both the Carthaginian Dido and the Volscian Camilla, in particular the deliberately crafted juxtaposition between the two women. [ABSTRACT FROM AUTHOR]

To avoid risky and expensive chemical immobilization of otariid pups, physical restriction is a better option. For this reason we constructed a stretcher that permits wide liberty to interact with the pup and take a variety of samples in a safe, comfortable and easy way, for both the pup and the researcher.Para evitar el uso de la riesgosa y cara restricción química en crías de otáridos la mejor opción es la restricción física. Por lo anterior construimos una camilla que permite amplia libertad para la toma de diferentes tipos de muestras de manera segura, cómoda y fácil tanto para la cría como para el investigador.

The paper starts with the analysis of the ambiguous figure of the "20;Italic Amazon"21; Camilla in the Aeneis. Two main factors are analysed, the role of the spear in the life of this "20;armed virgin"21; and her relations with natural surroundings, especially with rivers like the Amasenus and with lakes and marshes generally. Both prove to be fateful. The second factor is also noticeable with the other armed virgin of the Aeneis, Iuturna, who emerges as an upgraded and contrasting parallel to Camilla. Iuturna virago shows similarities with another famous virago of Latin literature, the Paluda virago of Ennius, and this gives an opportunity to evoke other women of the Roman tradition in connection with rivers and marshes, a phenomenon which proves to be a suitable topic for future exanimation. [ABSTRACT FROM AUTHOR]