The high moral tone of Horace's Reguhls ode makes it unsurprising that the poet should employ the traditional imagery of philosophers, both in the speech of Regulus and in the final simile. I should like here to point out some instances which seem to have escaped the notice of commentators.This passage is intended to illustrate the lost ‘virtus’ of the prisoners in Carthage, who, Regulus claims, will be of no greater use to the Romans if ransomed since they were cowardly (...) enough to surrender in the first place. For the first image of dyeing wool Kiessling–Heinze refer the reader to Lucretius 6.1074–7:purpureusque colos conchyli iungitur unacorpore cum lanae, dirimi qui non queat usquam,non si Neptuni fluctu renovare operam des,non mare si totum velit eluere omnibus undis.This gives the first hint that the image belongs to the philosophical tradition, though it does not seem to occur in the extant remains of Epicurus. This is confirmed by a passage of Plato, who at Rep. 429d ff. has an elaborate image taken from the dyer's art. The Guardians of the ideal city are to be carefully selected and prepared like wool for the dyeing process of education; then, as good wool keeps its colour after dyeing, so the Guardians will keep right opinions when they are taught them. The image is summarized by Socrates at 430a ff. (shrink)

This book provides the first general account of the works of the Latin writer Apuleius, most famous for his great novel the `Metamorphoses' or `Golden Ass'. Living in second-century North Africa, Apuleius was more than an author; he was an orator and professional intellectual, Platonist philosopher, extraordinary stylist, relentless self-promoter, as well as a versatile author of a remarkably diverse body of other work, much of which is lost to us.

Quid enim? si Daphitae fatum fuit ex equo cadere atque ita perire, ex hocne equo, qui cum equus non esset nomen habebat alienum ? aut Philippus hasne in capulo quadrigulas vitare monebatur? quasi vero capulo sit occisus. Quid autem magnum aut naufragum illum sine nomine in rivo esse lapsum – quamquam huic quidem his scribit in aqua esse pereundum? ne hercule Icadii quidem praedonis video fatum ullum; nihil enim scribit ei praedictum: quid mirum igitur ex spelunca saxum in crura eius (...) incidisse? puto enim, etiam si Icadius tum in spelunca non fuisset, saxum tamen illud casurum fuisse, nam aut nihil est omnino fortuitum aut hoc ipsum potuit evenire fortuna. (shrink)

Menander's lost comedyThaiswith its famous protagonist, thehetairalover of Ptolemy I Soter and perhaps Alexander himself, was plainly well known at Rome, and is alluded to several times in Latin poetry of the Augustan and later periods, as Ariana Traill has shown. My purpose here is to argue that the literary characterisation of Thais in Menander's play underlies certain aspects of Lesbia as presented in the poetry of Catullus; that Catullus' poetry uses the plays of Menander has been demonstrated by Richard (...) Thomas, arguing that Catullus 8 shows clear traces of Demea's monologue in theSamia(325–56). (shrink)

Epistles 1.20, the last poem of its book, begins with an elaborate joke on the entry of Horace's book of epistles into the world and ends with a well-known σραγς describing the poet himself. It will be argued here that this final poem recalls and subverts the pretensions of two earlier final poems in Horace's own Odes, and that its good-humoured depreciation of Horace himself is matched by a similar attitude towards his previous grand poetic claims as a lyric vates.

In Latin Hexameter Verse, his 1903 manual for composers of Latin hexameters which is still useful as a guide to Vergil's metrical and prosodic practices, S. E. Winbolt states that a hexameter ‘must not end with an adjective preceded by a noun with a similar short ending, e.g.…flumina nota’ unless the adjective is emphatic, ‘i.e. strongly distinctive, predicative or antithetical’. Whether or not his distinction between emphatic and non-emphatic adjectives in this position is wholly workable , Winbolt here rightly detects (...) a strong tendency in Vergil and other Latin poets towards avoiding endings of this general kind, which we can conveniently call the ‘Discordia taetra’ type after one of its earliest and best-known instances in the Annales of Ennius . The rarity of this type of line-ending is clear in Vergil; there are only 16 examples, regardless of whether the adjective is emphatic or not, in the 9890 lines of the Aeneid. Such a select and easily-defined phenomenon might prove a yardstick of some interest in the history of the Latin hexameter, for it seems to raise a number of questions to which the answers would be significant and useful. Is this type of ending avoided equally by all poets? Is there an increasing tendency to avoid it as time goes on? Is it associated with any particular genres of hexameter poetry? Do poets tend to use in it the same words or phrases as their predecessors? To discover the answers, this article will look at the ‘Discordia taetra’ phenomenon in Latin hexameter poetry, defining it as the instance where a noun ending in a short vowel is immediately succeeded by an adjective of similar ending and in agreement at the end of the hexameter, and where such a noun is not a substantivised adjective and such an adjective is neither predicative nor a participle. (shrink)

The high moral tone of Horace's Reguhls ode makes it unsurprising that the poet should employ the traditional imagery of philosophers, both in the speech of Regulus and in the final simile. I should like here to point out some instances which seem to have escaped the notice of commentators.This passage is intended to illustrate the lost ‘virtus’ of the prisoners in Carthage, who, Regulus claims, will be of no greater use to the Romans if ransomed since they were cowardly (...) enough to surrender in the first place. For the first image of dyeing wool Kiessling–Heinze refer the reader to Lucretius 6.1074–7:purpureusque colos conchyli iungitur unacorpore cum lanae, dirimi qui non queat usquam,non si Neptuni fluctu renovare operam des,non mare si totum velit eluere omnibus undis.This gives the first hint that the image belongs to the philosophical tradition, though it does not seem to occur in the extant remains of Epicurus. This is confirmed by a passage of Plato, who at Rep. 429d ff. has an elaborate image taken from the dyer's art. The Guardians of the ideal city are to be carefully selected and prepared like wool for the dyeing process of education; then, as good wool keeps its colour after dyeing, so the Guardians will keep right opinions when they are taught them. The image is summarized by Socrates at 430a ff. (shrink)

Cicero's praise of Caesar in thePro Marcelloof September 46b.c.e.has been much discussed for its sincerity or otherwise. Here I would like to point out some unobserved literary colour which may make some contribution to the argument, namely Cicero's subtle evocation of Hercules in describing the achievements of the victorious Caesar. Such an analogy is not unlikely in the context of Roman military image-making: Sulla in 78b.c.e.and Crassus and Pompey in 70b.c.e.had earlier encouraged connections with Hercules in analogous victorious contexts, and (...) similar comparisons are later made between the foreign conquests of Augustus and those of Hercules in both Virgil and Horace. (shrink)

Quid enim? si Daphitae fatum fuit ex equo cadere atque ita perire, ex hocne equo, qui cum equus non esset nomen habebat alienum? aut Philippus hasne in capulo quadrigulas vitare monebatur? quasi vero capulo sit occisus. Quid autem magnum aut naufragum illum sine nomine in rivo esse lapsum – quamquam huic quidem his scribit in aqua esse pereundum? ne hercule Icadii quidem praedonis video fatum ullum; nihil enim scribit ei praedictum: quid mirum igitur ex spelunca saxum in crura eius incidisse? (...) puto enim, etiam si Icadius tum in spelunca non fuisset, saxum tamen illud casurum fuisse, nam aut nihil est omnino fortuitum aut hoc ipsum potuit evenire fortuna. (shrink)

Peter Marshall has done what all those concerned with manuscripts dream of doing: he has turned up a substantial lost portion of an ancient text. His discovery is related, with great modesty, in an article in Manuscripta 37 , 3–20, where he prints for the first time Tiberius Claudius Donatus' commentary on Virgil, Aeneid 6.1–157, edited from a gathering written in the sixteenth century and now bound into Vaticanus Latinus 8222 ff. 2r–9v. We offer here some emendations to the text (...) he prints; we are grateful to Prof. M. D. Reeve and Dr S. J. Heyworth for their suggestions, which we have incorporated in what follows. The bold figures represent the lines of Aeneid 6. (shrink)

Horace's Asterie ode has been somewhat neglected by critics. Fraenkel, uninterested in the erotic odes, fails to mention it, and others see it as merely counterbalancing the preceding six Roman Odes by its frivolity and light irony. However, it is one of Horace's most subtle and best-organized erotic odes, matching the more obvious conventions of Latin love-elegy with a romanticized Odyssey as an underlying framework.

Our information on Horace's friend Aristius Fuscus, whom he addresses in Odes 1.22 and Epistles 1.10, is neatly summed up by Nisbet and Hubbard: ‘he was a close friend of Horace's . He wrote comedies and seems to have had a sense of humour: it was he who refused to rescue Horace from the ‘importunate man’ in the Sacra Via . Horace says elsewhere that he was a town-lover, who disliked the countryside ; here he amuses him with an account (...) of the perils of his Sabine estate. Fuscus was a schoolmaster by profession ; in epist. 1.10.45 Horace teases him for his stern discipline . Fuscus is mentioned with Asinius Pollio and others as a critic who approved of Horace's poetry . He may also have written on grammar; cf. gramm. 7.35.2 ‘Abnesti Fusti grammatici liber est ad Asinium Pollionem’. The purpose of this note is to add a further piece to this picture, consonant with Fuscus' grammatical interests, namely to argue that Fuscus was also a Stoic, and that his philosophical loyalties are played on in the two poems addressed to him by Horace. (shrink)

Here Horace's Catius lists restorative foods for drinkers. There seem to be two stages of drinking and two corresponding restoratives: the ‘marcens’ or drooping imbiber may be revived for more by prawns and snails, but not by lettuce, bad for the acidic and vinous stomach, while the man who is further gone needs ham and sausages or anything of that sort from the cook-shops. ‘Immorsus’ causes some difficulty here. It is usually taken with an understood ‘stomachus’ and translated ‘roused’ or (...) ‘excited’ , but it is surely better to understand not ‘stomachus’ but ‘potor’, giving the elegant balance ‘marcentem…recreabis…potorem…[potor] flagitat immorsus refici’, with both verbs of restoration having the drinker for object. The sense usually given to ‘immorsus’ also seems doubtful: ‘immordeo’ is found only twice in classical Latin and only here in this metaphorical sense, and ‘mordeo’ in such contexts means not to rouse the stomach but to cause it to smart or sting, hardly the effect of wine – cf. Scribonius Largus 188 ‘[aconita] mordet autem stomachum et cor adficit’, Pliny, Nat. 27.133 ‘[radix] gustu acri mordet’. (shrink)

Euripides, Medea 11–13 :12 πολιτν codd. et Σbv; πολίταις V3, sicut coni. Barnes 13 ατ Sakorrphos; ατή codd. et gE et Stob. 4.23.30In his recent discussion of this passage , Diggle has convincingly argued for πολίταις and ατ, the latter of which he places in his new Oxford text, but recognises that υγ remains highly problematic : ‘The truth, I think, is still to seek’. It is to this last difficulty that I should like to suggest a solution.The problems of (...) υγ are syntactical, as Diggle clearly demonstrates : ‘With which verb is υγ to be constructed?’ Of these νδάνουσα is more likely for position, ίκετο for sense; but the former construction produces an obscurity, the latter an unacceptable hyperbaton. Another complicating element is the juxtaposition υγ πολιτν. it is clearly significant, and by its intervention appears to prevent taking υγ as π κοινο with both verbs, the third possible construction.As a solution I should like to revive a forgotten conjecture of Pierson's, made in his Verisimilia . His υγς πολίταις appears both to solve all the syntactical problems and to give appropriate point to the juxtaposition of ‘exile’ and ‘citizen’. υγάς would then go with νδάνουσα and bear a concessive sense: ‘pleasing, though an exile, the citizens to whose land she came’, a nuance found already in Wecklein's paraphrase of his text υγ πολιτν. ‘Sie gefällt denen, in deren Land sie gekommen ist, obwohl sie die Bürgerschaft als eine fremde, landesflüchtige Person gegenübersteht’. This contrast between citizen and exile and the necessity for the latter to please the former are naturally important themes in the dramatic situation of the Medea — cf. Medea's words at 222 χρ δ ξένον μν κάρτα προσχωρεν πόλει, with Page's note. (shrink)

This is one of the identities offered by Ovid for the goddess Anna Perenna, whose festival falls on the Ides of March. Ovid's lines give us the following information about this version of Anna: she was a poor but industrious old woman living in the suburbs of Rome, her benevolent baking and distribution of cakes provided much-needed sustenance for theplebsduring theirsecessioon the Mons Sacer, and theplebsrepaid this service when peace was restored by dedicating a cult-statue to her, so founding the (...) cult of Anna Perenna. This Anna is thus a minor character, otherwise unknown, associated with a cult of obscure origin and with a major historical event, the firstsecessio plebisto the Mons Sacer usually dated to 494 B.C. This alone would make it likely that Ovid is inventing her here as circumstantial detail. When we consider that wo are told that she lived at Bovillae, some twelve miles south-east of Rome, and that the Mons Sacer was located three miles north-east of the city, any probability of Ovid's story being a fully historical report vanishes; Anna of Bovillae was simply in the wrong place to purvey cakes to theplebson this occasion, unless she ran a modern-style delivery service over a thirty-mile circuit. The possibility remains that there was an otherwise unknown cult of Anna Perenna at Bovillae to which Ovid refers, since the association of Anna with Bovillae must have come from somewhere, especially as it here seems to introduce an unwanted inconsistency. (shrink)

This is one of the identities offered by Ovid for the goddess Anna Perenna, whose festival falls on the Ides of March. Ovid's lines give us the following information about this version of Anna: she was a poor but industrious old woman living in the suburbs of Rome, her benevolent baking and distribution of cakes provided much-needed sustenance for theplebsduring theirsecessioon the Mons Sacer, and theplebsrepaid this service when peace was restored by dedicating a cult-statue to her, so founding the (...) cult of Anna Perenna. This Anna is thus a minor character, otherwise unknown, associated with a cult of obscure origin and with a major historical event, the firstsecessio plebisto the Mons Sacer usually dated to 494 B.C. This alone would make it likely that Ovid is inventing her here as circumstantial detail. When we consider that wo are told that she lived at Bovillae, some twelve miles south-east of Rome, and that the Mons Sacer was located three miles north-east of the city, any probability of Ovid's story being a fully historical report vanishes; Anna of Bovillae was simply in the wrong place to purvey cakes to theplebson this occasion, unless she ran a modern-style delivery service over a thirty-mile circuit. The possibility remains that there was an otherwise unknown cult of Anna Perenna at Bovillae to which Ovid refers, since the association of Anna with Bovillae must have come from somewhere, especially as it here seems to introduce an unwanted inconsistency. (shrink)

What follows is a list of corrections to my ‘Discordia taetra: the history of a hexameter-ending’, CQ 41 , 138–49. Most of these are owed to the researches of Dr Nigel Holmes, author of the preceding article, and I am most grateful to him for his material, and to the editors of CQ for giving me this opportunity for correction; my humble apologies for human error in my pre-CD-ROM era. I am glad to say that none of the article's conclusions (...) are substantially modified by these corrections. (shrink)

The information transmitted on the numeration of the books of Petronius' Satyrica is notoriously contradictory. Parts of the extant fragmentary text are variously assigned to Books 14–16: the testimonia are clearly set out in Muller's recent fourth edition , and briefly discussed by Sullivan: of Müller's testimonia, no. 10 places Sat. 89.1 in Book 15, no. 13 puts Sat. 20.5 in Book 14, no. 21 identifies the Cena Trimalchionis as Book 15, and no. 22 suggests that excerpts from Sat. 6–141 (...) and the complete Cena all come from Books 15 and 16. My main purpose here, however, is not to reopen the general question of the numeration or the overall number of the books of the Satyrica. (shrink)

Commentators on this passage have drawn attention to the unusual genitive in the phrase ferox scelerum, ‘fierce in his crimes’: ‘this adj. seems here alone to take an objective genitive’, says Furneaux, while Martin and Woodman state that ‘the dependent genitive of an external attribute, evidently on the analogy of its use with personal characteristics , seems unparalleled and is perhaps intended to suggest that Sejanus' criminality was innate’. Most commentators add a reference to Sallust's description of Jugurtha as sceleribus (...) suis ferox , but that passage is no help as a parallel for the construction, since it gives the ablative usual after ferox in Tacitus and other writers to describe the reason for ferocity. (shrink)

At the end of the singing contest of Thyrsis and Corydon in the seventh Eclogue, the narrator Meliboeus summarizes its result in the poem's last lines.

Epode 10: the Mystery of Mevius' Crime Horace's tenth Epode, an inverse propempticon, calls down dire curses on the head of a man named Mevius as he leaves on a sea-voyage.1 Scholars have naturally been interested in what Mevius had done to merit such treatment, but answers have been difficult to find, for nothing explicit is said on this topic in the poem; as Leo noted, ‘[Horatius] ne verbo quidem tarn gravis odii causam indicat’. This is in direct contrast with (...) the Strasbourg epode usually attributed to Hipponax , which served as Horace's model in this poem; there it is clear that the similar curses on a departing sailor are caused by his breaking of oaths to the poet and betrayal of their previous friendship . One might expect Horace to give some kind of indirect suggestion of the nature of Mevius’ offence, but even this is despaired of by Fraenkel: ‘There is no hint at the sort of crime which Mevius is said to have committed, nor is anything said about the man himself; he remains an entirely shadowy figure’. The best that scholars have been able to do is to follow the ancient commentary of Porphyrio in suggesting that Horace's Mevius is to be identified with the poetaster attacked by Vergil in Ecl. 3.90 ‘qui Bavium non odit, amet tua carmina, Mevi’. Though it is pleasant to think of Vergil and Horace, perhaps by now friends in the circle of Maecenas, ganging up on a luckless hack, there is, as Fraenkel points out, no mention in the tenth Epode that Mevius is a poet, and his literary incompetence, assuming he is Vergil's poet, does not seem to underlie or indeed warrant the bitter imprecations of the poem: Catullus might wish a dire fate on the works of a bad poet , but to long for their author's shipwreck and consumption by gulls might indeed seem excessive. (shrink)

Ovid, Metamorphoses 4.243–4:nec tu iam poteras enectum pondere terraetollere, nympha, caput, corpusque exsangue iacebas.

Ovid, Metamorphoses 4.243–4: nec tu iam poteras enectum pondere terrae tollere, nympha, caput, corpusque exsangue iacebas.

Sic effata et osculis hiantibus filium diu ac pressule saviata proximas oras reflui litoris petit, plantisque roseis vibrantium fluctuum summo rore calcato ecce iam profundi mans sudo resedit vertice, et ipsum quod incipit velle, set statim, quasi pridem praeceperit, non moratur marinum obsequium: adsunt Nerei filiae chorum canentes et Portunus caerulis barbis hispidus et gravis piscoso sinu Salacia et auriga parvulus delphini Palaemon….

Sic effata et osculis hiantibus filium diu ac pressule saviata proximas oras reflui litoris petit, plantisque roseis vibrantium fluctuum summo rore calcato ecce iam profundi mans sudo resedit vertice, et ipsum quod incipit velle, set statim, quasi pridem praeceperit, non moratur marinum obsequium: adsunt Nerei filiae chorum canentes et Portunus caerulis barbis hispidus et gravis piscoso sinu Salacia et auriga parvulus delphini Palaemon….

These rhetorical texts by Apuleius, second-century Latin writer and author of the famous novel Metamorphoses or Golden Ass, have not been translated into English since 1909. They are some of the very few Latin speeches surviving from their century, and constitute important evidence for Latin and Roman North African social and intellectual culture in the second century AD, a period where there is increasing interest amongst classicists and ancient historians. They are the work of a talented writer who is being (...) increasingly viewed as the major literary artist of his time in Latin. (shrink)

The winning of the ultimate military honour of spolia opima, spoils taken personally from an enemy commander killed by a Roman commander, traditionally occurred only three times in Roman history, the winners being Romulus in the legendary period, A. Cornelius Cossus in either 437 or 426 and M. Claudius Marcellus in 222 B.C.1 The dedication-place of these special spoils was the temple of Jupiter Feretrius on the Capitol, traditionally founded by Romulus for the purpose, and considered the oldest temple in (...) Rome : the god was said to draw his name either from the fact that the spolia opima were carried up to the Capitol by the victorious general in person, or from the fact that the general had to strike down his opposite number before such spoils could be won. (shrink)

Here Horace gives warning to an adversary of his powers of literary attack, comparing himself with the great iambists Archilochus and Hipponax . The general sense of the last two lines seems clear: ‘If someone attacks me , shall I weep like a mere boy?’, i.e. ‘Am I not to take revenge?’.

Here in the proem to his fifth book Lucretius is praising the philosophical achievements or discoveries of Epicurus through favourable comparison with other discoveries of traditional heroic or divine figures; first, in this passage, with the products of bread and wine associated with the gods Ceres and Liber , and later with the deeds of the god-hero Hercules. This technique clearly derives from the σγκρισις of formal rhetoric, one of the basic exercises through which composition was taught in ancient schools, (...) and Lucretius begins with ‘confer’, an imperative which has something of a formulaic force in rhetorical comparisons. But it is not the purpose of this note to point out the rhetorical qualities of this passage; Lucretius' treatment of Ceres and Liber has other important literary and philosophical associations, links which have not been noted or explored by scholars. (shrink)

Here Gellius, also the target of poems 74, 80, 89, 90, 91 and 116, is accused of incest with his mother, sister, and aunt. This accusation is coupled with the only extended mythological reference to be found in the group of short Catullan epigrams 69–116:2 not even Tethys or Oceanus can wash out Gellius' crimes. This notion that large bodies of water are unable to wash away the stain of crime is of course a topos going back to Greek tragedy, (...) but the individual naming of the two sea-deities seems to make a point—a literary point which is relevant to the invective of the poem. (shrink)

The lack of a separate commentary on the fourth book of Statius' Thebaid has meant that many significant details in this description of Capaneus in the catalogue of the Seven have gone unremarked. This article aims to fill the deficiency, pointing out the rich literary allusions, artful symbolism and the careful use of language in this well written passage.

I quote Griffiths' translation: ‘A crown of many designs with all kinds of flowers had girt her lofty head; in its centre a flat disk above the forehead shone with a clear light in the manner of a mirror or indeed the moon, while on its right and left it was embraced by coils of uprising snakes; from above it was adorned also with outstretched ears of corn’. This is the detailed description of the crown worn by Isis in her (...) epiphany to Lucius at Cenchreae. ‘Sulcis’ is strange; it can only refer to the tracks or furrows left by snakes, a notion wholly irrelevant here – we require a noun referring to actual physical parts of the two snakes which border Isis' moon-disk on either side, preferably a reference to their hanging coils – so Griffiths' translation runs ‘on its right and left it was embraced by coils of uprising snakes’, though this does not render his text, which keeps ‘sulcis’. Read ‘spiris’, a word of similar shape to ‘sulcis’; ‘spirae’ is twice used of the coils of snakes by Vergil, at Aen. 2.217 and 12.848; ‘serpentum spiris’ in the latter passage may influence Apuleius’ ‘spiris…viperarum’. The alliteration and assonance of ‘spins’ and ‘spicis’ would be very much in Apuleius' manner as a jingle involving the change of a single consonant between two words – cf. Florida 3 ‘ita Marsyas in poenam cecinit et cecidit’, Apologia 85 ‘acerbiores morsus viventi et videnti offeruntur’ and H. Koziol, Der Stil des L. Apuleius, 204–5. (shrink)

at ego tibi sermone isto Milesio varias fabulas conseram auresque tuas benivolas lepido susurro permulceam, modo si papyrum Aegyptiam argutia Nilotici calami inscriptam non spreveris inspicere. figuras fortunasque hominum in alias imagines conversas et in se rursum mutuo nexu refectas, ut mireris, exordior. ‘quis ille?’ paucis accipe. Hymettos Attica et Isthmos Ephyrea et Taenaros Spartiatica, glebae felices aeternum libris felicioribus conditae, mea vetus prosapia est; ibi linguam Atthidem primis pueritiae stipendiis merui, mox in urbe Latia advena studiorum Quiritium indigenam sermonem (...) aerumnabili labore nullo magistro praeeunte aggressus excolui. en ecce praefamur veniam, si quid exotici ac forensis sermonis rudis locutor offendero. iam haec equidem ipsa vocis immutatio desultoriae scientiae stilo quern accessimus respondet. fabulam Graecanicam incipimus. lector intende: laetaberis. (shrink)

The primary responsibility for global climate change responsiveness is usually attributed to nation states. This is reflected in the United Nations’ processes aimed at enrolling governments in mitigation and adaptation programmes. Such an approach begs the question of how global climate change (GCC) responsiveness might proceed if a national government is hostile to the issue, as appears likely to be the case in the USA. This paper addresses this concern by documenting the percentage of the population of the USA who (...) are ‘covered’ by at least one of six examples of GCC responsiveness at sub-federal – state and municipality – levels. Of the population of the USA, 25.8% lives in states where all of the state-level initiatives surveyed are in effect, whereas only 4.4% are not covered by any of the six. This coverage has increased as compared to earlier surveys (Lutsey, N., and D. Sperling. 2008. “America’s Bottom-Up Climate Change Mitigation Policy.” Energy Policy 36: 673–685. doi:10.1016/j.enpol.2007.10.018). This finding suggests that there is more practical hope for GCC responsiveness than might be commonly appreciated and this also has ramifications for research in accounting. (shrink)

The aim of the My Character project was to develop a better understanding of how interventions designed to develop character might enhance moral formation and futuremindedness in young people. Futuremindedness can be defined as an individual’s capacity to set goals and make plans to achieve them. Establishing goals requires considerable moral reflection, and the achievement of worthwhile aims requires character traits such as courage and the capacity to delay gratification. The research team developed two new educational interventions – a website (...) and a hard-copy journal – with the specific aim of developing future-mindedness. After development, the website and journal were piloted over a one-year period by over 1,000 11–14 year olds in six schools across England. Various research methods, including group interviews and case studies, were implemented to assess impact. In addition, a pilot RCT was conducted to assess the feasibility of using experimental methods to measure character. The main findings from the research are that: - Students benefit from opportunities in school to think about future-mindedness; this can be successfully taught through character education. - Harnessing new technology, such as the Internet, offers exciting opportunities for character education. - It is beneficial to investigate the impact of new character education resources in order to bring greater clarity about ‘what works’. The most useful approach is a mixed methods one that allows for triangulation of evidence. - It is possible to run RCTs and other experimental research in schools to assess developmental projects of this kind, but applying the method in schools and creating suitable outcome measures present challenges for researchers. - A positive indicator of the success is that five out of the six pilot schools have embedded My Character into their curriculum. In addition, many new schools, both in Britain and internationally, have started to use the website and / or journal. This report describes the research, analyses the impact of My Character and concludes with recommendations for policy makers, practitioners and researchers embarking on similar projects. These recommendations include: i) advocating that schools create space in the curriculum to teach future-mindedness through character education; ii) enhancing traditional character education teaching methods with opportunities brought by Internet technologies; iii) evaluating character education interventions using triangulated evidence drawn from a mixture of research methods. (shrink)