This article aims to analyse Seneca´s notion on clementia. Our study assume the principate of Nero as an historical frame. We check if the princeps described by Tacitus practice it or not. Our sources are the historiography of the principate, a legacy from Tacitus, in his Analles and Seneca‟s De clementia.

In “The Brokenness of Being,” Mari Ruti investigates the impact that trauma can have on being. Informed by her own experience of breast cancer, Ruti argues that there are some traumatic experiences that entirely change one’s symbolic coordinates. She calls these types of experiences benchmark traumas. Diagnosed with terminal cancer, Ruti boldly explores how encountering a benchmark trauma forced her to recognize the brokenness of her being. She theorizes that this recognition reveals the split in the subject. Encountering this brokenness, (...) as she calls it, at the heart of being can be completely debilitating. However, Ruti argues, there is a way to engage rather than repress this impossible reality. She theorizes that creativity is the one human expression that can grapple authentically with the split in the subject. To explore this idea, she collaborates with painter Dwight Smith. Smith’s twenty-two paintings respond to the benchmark trauma of the death of his twenty-two-year-old daughter. The twenty-two paintings are positioned throughout the manuscript and are in conversation with Ruti’s theory. Ruti is fascinated by both the paintings and Smith’s process, which is similar to her own. For Ruti and Smith, their creativity is how existential engagement takes shape. (shrink)

Considering representations of torture in such television series as _24_,_ Alias_, and _Homeland_; the documentaries _Taxi to the Dark Side_, _Ghosts of Abu Ghraib_, and _Standard Operating Procedure_ ; and "torture porn" feature films from the Saw and Hostel series, Hilary Neroni unites aesthetic and theoretical analysis to provide a unique portal into theorizing biopower and its relation to the desiring subject. Her work ultimately showcases film and television studies' singular ability to expose and potentially disable the fantasies that sustain (...) torture and the regimes that deploy it. (shrink)

In “The Brokenness of Being,” Mari Ruti investigates the impact that trauma can have on being. Informed by her own experience of breast cancer, Ruti argues that there are some traumatic experiences that entirely change one’s symbolic coordinates. She calls these types of experiences benchmark traumas. Diagnosed with terminal cancer, Ruti boldly explores how encountering a benchmark trauma forced her to recognize the brokenness of her being. She theorizes that this recognition reveals the split in the subject. Encountering this brokenness, (...) as she calls it, at the heart of being can be completely debilitating. However, Ruti argues, there is a way to engage rather than repress this impossible reality. She theorizes that creativity is the one human expression that can grapple authentically with the split in the subject. To explore this idea, she collaborates with painter Dwight Smith. Smith’s twenty-two paintings respond to the benchmark trauma of the death of his twenty-two-year-old daughter. The twenty-two paintings are positioned throughout the manuscript and are in conversation with Ruti’s theory. Ruti is fascinated by both the paintings and Smith’s process, which is similar to her own. For Ruti and Smith, their creativity is how existential engagement takes shape. (shrink)

With modern technological advances, distance education has become an increasingly important education delivery medium for, for example, the higher education provided by open universities. Among predictive factors of successful learning in distance education, the effects of non-cognitive skills are less explored. Grit, the dispositional tendency to sustain trait-level passion and long-term goals, has raised much research interest and gained importance for predicting academic achievement. The Grit Questionnaire, measuring Perseverance of Effort and Consistency of Interests, has been shown to be a (...) reliable instrument in traditional university student populations. However, the measurement and predictive validity of this questionnaire is still unknown for adult distance education university students who differ from traditional students in various ways. Based on a sample of 2,027 students from a distance education university, this study assessed the psychometric properties of the two-factor structure grit measured by the Grit Questionnaire. The findings suggest that the short form of the Grit Questionnaire is a potentially useful assessment tool for measuring the grit construct for distance learning higher education and that the Consistency of Interests factor is especially relevant to consider the improvement of learning performance for distance education in terms of courses credit and exam attempts. The measurement precision of the Perseverance of Effort factor, however, should be improved in future research to provide higher measurement accuracy and broader item coverage. (shrink)

On the outside wall and in the vestibule of the ‘House of Publius Paquius Proculus’ in Pompeii (building I.7.1) three graffiti containing the name Cucuta can be found. The first simply readsCucuta(CIL4.8065 [outside wall]). The second tells us that Cucuta was an attendant of the Emperor Nero (CIL4.8066 [outside wall]):Cu(cuta) | Cucuta Ner(onis).From the third we learn that Cucuta was a financial secretary (a rationibus) of Nero (CIL4.8075 [vestibule]):Cucuta ab ra[t]ioni[b]us | Neronis Augusti. While the meaning and significance of (...) these graffiti may seem apparent—that one of Nero's attendants scratched his name on the wall and vestibule pillar as he waited for the emperor to return from a meeting—the closeness betweenCucuta(an otherwise unattested name) andcicuta(hemlock) raises a key question: should we readCucutaasCicutaand therefore understand the third graffito in particular as a joke about Nero's rumoured fondness for killing family, friends and his senatorial enemies with poison? In other words, is it Poison, and not a person, that keeps Nero's finances in order? And, if so, can theCucutagraffiti give us an alternative insight into the plethora of wall inscriptions found outside building I.7.1 greeting Publius Paquius Proculus and recommending him for office? (shrink)