The Obelized Amicē: Horace,Carm. 3. 2. 1

The author defends amice (“in a friendly way”, “showing goodwill”) discussing the use of the adverb amice elsewhere and especially the problem of its reference.     

The Royal Palace at Tilleda,Kr. Sangerhausen,D.D.R.: Excavations from 1935–1966

THE REMAINS of Caergwrle castle in E. Clwyd stand on a hill dominating the modern village of Caergwrle, which lies immediately to the N. (Fig. 1). The castle is situated about half-way between Mold and Wrexham in NE. Clwyd at SJ.306572 (Fig. 2; Pl. VIIl). The castle is very much a border fortification; it stands at an altitude of 135 m OD just to the E. of Hope Mountain. Any defender on the wail-walk of the castle's E. curtain enjoyed extensive views NE. towards Chester, S. to Wrexham and beyond, and N. to Halkyn Mountain.     

Obituary—The Rev. Robert Mackenzie,M.A.

Abstract

This paper examines how CCTV-assisted bird-watching mediates people's relationship with a particular representation of an animal world. By focusing on people's interpretations and responses to CCTV camera technology at three bird-watching sites around Scotland, it is argued that the use of CCTV technology represents a qualitatively different mode of engaging with birds which has bearing on how this mediated animal world appears in and to people's everyday lives. It is asserted that the spatial relations invoked in the act of looking at birds through a CCTV lens inscribe a conceptual hyper-separation between see-er and seen that serve to normalise a vision of humanity inherently separate from and dominant over the wildlife on screen. As a technologically mediated way of seeing, the paper explores the use of CCTV cameras as inscribing particular ‘ways of being’ that serve to define and limit people's conduct towards the birds on view. By drawing attention to the conservation discourses that support, and are supported by the use of CCTV-assisted bird-watching, it is argued that the notion of ‘keeping an eye on nature’ is embedded in a cultural agenda that assists with the construction of nature as tele-visual commodity.