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A People's History of Classics
A People’s History of Classics explores the influence of the classical past on the lives of working-class people, whose voices have been almost completely excluded from previous histories of classical scholarship and pedagogy, in Britain and Ireland from the late 17th to the early 20th century. This volume challenges the prevailing scholarly and public assumption that the intimate link between the exclusive intellectual culture of British elites and the study of the ancient Greeks and Romans and their languages meant that working-class culture was a ‘Classics-Free Zone’. Making use of diverse sources of information, both published and unpublished, in archives, museums and libraries acr...
The Origin of Turbulence in Near-Wall Flows
This book presents a comprehensive survey of the origin of turbulence in near-wall shear layer flows. Instead of going too far into details modern approaches to the problem are discussed in a conceptual treatment. The transition from laminar to turbulent flows in shear layers is described including the generation of flow perturbations, their amplification and development, the breakdown of the initial laminar state, and transformation to a turbulent regime. This book also presents new approaches to boundary-layer transitions with strong external-flow perturbations and to the prediction and control of the presented near-wall transitions to turbulence. This book is addressed to researchers, lecturers and students in engineering, physics and mathematics.
The So-called Nonsense Inscriptions on Ancient Greek Vases
As the first extensive survey of the ancient Greek painters’ practice of writing nonsense on vases, The So-called Nonsense Inscriptions on Ancient Greek Vases by Sara Chiarini provides a systematic overview of the linguistic features of the phenomenon and discusses its forms and contexts of reception. While the origins of the practice lie in the impaired literacy of the painters involved in it, the extent of the phenomenon suggests that, at some point, it became a true fashion within Attic vase painting. This raises the question of the forms of interaction with this epigraphic material. An open approach is adopted: “reading” attempts, riddles and puns inspired by nonsense inscriptions could happen in a variety of circumstances, including the symposium but not limited to it.
