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Greek Art in Motion Studies in Honour of Sir John Boardman On the Occasion of His 90Th Birthday
Greek Art in Motion Studies in honour of Sir John Boardman on the occasion of his 90th birthday edited by Rui Morais, Delfim Leão, Diana Rodríguez Pérez with Daniela Ferreira Archaeopress Archaeology Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com ISBN 978 1 78969 023 1 ISBN 978 1 78969 024 8 (e-Pdf) © Archaeopress and the individual authors 2019 Cover: Head of Alexander in profile. Tourmaline intaglio, 25 x 25 mm, Ashmolean (1892.1499) G.J. Chester Bequest. Photo: C. Wagner. All rights reserved. No part of this book may be reproduced, or transmitted, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. Printed in England by Oxuniprint, Oxford This book is available direct from Archaeopress or from our website www.archaeopress.com Contents Preface ����������������������������������������������������������������������������������������������������������������������������������������������������������������������������������1 John Boardman and Greek Sculpture �����������������������������������������������������������������������������������������������������������������������������������3 Olga Palagia Sanctuaries and the Hellenistic Polis: An Architectural Approach �����������������������������������������������������������������������������������14 Milena Melfi ‘Even the fragments, however, merit scrutiny’: Ancient Terracottas in the Field and the Museum ��������������������������������23 -
Greek Cultures, Traditions and People
GREEK CULTURES, TRADITIONS AND PEOPLE Paschalis Nikolaou – Fulbright Fellow Greece ◦ What is ‘culture’? “Culture is the characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts […] The word "culture" derives from a French term, which in turn derives from the Latin "colere," which means to tend to the earth and Some grow, or cultivation and nurture. […] The term "Western culture" has come to define the culture of European countries as well as those that definitions have been heavily influenced by European immigration, such as the United States […] Western culture has its roots in the Classical Period of …when, to define, is to the Greco-Roman era and the rise of Christianity in the 14th century.” realise connections and significant overlap ◦ What do we mean by ‘tradition’? ◦ 1a: an inherited, established, or customary pattern of thought, action, or behavior (such as a religious practice or a social custom) ◦ b: a belief or story or a body of beliefs or stories relating to the past that are commonly accepted as historical though not verifiable … ◦ 2: the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction ◦ 3: cultural continuity in social attitudes, customs, and institutions ◦ 4: characteristic manner, method, or style in the best liberal tradition GREECE: ANCIENT AND MODERN What we consider ancient Greece was one of the main classical The Modern Greek State was founded in 1830, following the civilizations, making important contributions to philosophy, mathematics, revolutionary war against the Ottoman Turks, which started in astronomy, and medicine. -
Pausanias' Description of Greece
BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA. -
Roman History the LEGENDARY PERIOD of the KINGS (753
Roman History THE LEGENDARY PERIOD OF THE KINGS (753 - 510 B.C.) Rome was said to have been founded by Latin colonists from Alba Longa, a nearby city in ancient Latium. The legendary date of the founding was 753 B.C.; it was ascribed to Romulus and Remus, the twin sons of the daughter of the king of Alba Longa. Later legend carried the ancestry of the Romans back to the Trojans and their leader Aeneas, whose son Ascanius, or Iulus, was the founder and first king of Alba Longa. The tales concerning Romulus’s rule, notably the rape of the Sabine women and the war with the Sabines, point to an early infiltration of Sabine peoples or to a union of Latin and Sabine elements at the beginning. The three tribes that appear in the legend of Romulus as the parts of the new commonwealth suggest that Rome arose from the amalgamation of three stocks, thought to be Latin, Sabine, and Etruscan. The seven kings of the regal period begin with Romulus, from 753 to 715 B.C.; Lucius Tarquinius Superbus, from 534 to 510 B.C., the seventh and last king, whose tyrannical rule was overthrown when his son ravished Lucretia, the wife of a kinsman. Tarquinius was banished, and attempts by Etruscan or Latin cities to reinstate him on the throne at Rome were unavailing. Although the names, dates, and events of the regal period are considered as belonging to the realm of fiction and myth rather than to that of factual history, certain facts seem well attested: the existence of an early rule by kings; the growth of the city and its struggles with neighboring peoples; the conquest of Rome by Etruria and the establishment of a dynasty of Etruscan princes, symbolized by the rule of the Tarquins; the overthrow of this alien control; and the abolition of the kingship. -
Greek-Levantine Cultural Exchange in Orientalising and Archaic Pottery Shapes
doi: 10.2143/AWE.10.0.2141813 AWE 10 (2011) 11-42 GREEK-LEVANTINE CULTURAL EXCHANGE IN ORIENTALISING AND ARCHAIC POTTERY SHAPES RICHARD N. FLETCHER Abstract This paper offers several observations on the phenomenon of Levantine influence on Greek pottery shapes of the Orientalising and Archaic periods. The evidence suggests that Levantine influence upon Greek pottery is of greater importance than is currently thought. The article focuses upon pottery shape as an indicator of foreign influence, but also demonstrates that the cultural exchange seen in the Mediterranean before the Classical period was a complex phe- nomenon in which there was a flow of ideas, practices and influences involving the Aegean, the various cultures of the Levant, Anatolia and Egypt. The blending of Mediterranean and Near Eastern cultures that we call Hellenism after Alexander had, in fact, been going on in a limited manner for centuries. This can be demonstrated in terms of pottery shapes: the so- called eclectic nature of Phoenician material culture can be seen all over the eastern Mediter- ranean from Syria to Egypt and to some extent in Greek pottery as well. In the Aegean, Eastern sources are clear for the discoid lip of Corinthian perfume vessels, the sack-shaped olpe and alabastron, and for the various types of Archaic lekythoi and East Greek vessels. Introduction The archaeology of the Orientalising and Archaic periods in Greece has tradition- ally emphasised the study of the decorative arts, particularly in the study of Greek pottery. Such a tendency is easily explained as arising directly from the character of the archaeological record of these periods: the Orientalising revolution is, after all, easily visible in Protocorinthian pottery, whose marked change in decorative style is emblematic, and may serve as a kind of shorthand for the broader socio-cultural changes of the period. -
Refiguring the Rebetika As Literature
Macalester College DigitalCommons@Macalester College English Honors Projects English Department 4-2020 Bodies in the Margins: Refiguring the Rebetika as Literature Sophia Schlesinger Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/english_honors Part of the English Language and Literature Commons, Ethnomusicology Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Schlesinger, Sophia, "Bodies in the Margins: Refiguring the Rebetika as Literature" (2020). English Honors Projects. 44. https://digitalcommons.macalester.edu/english_honors/44 This Honors Project - Open Access is brought to you for free and open access by the English Department at DigitalCommons@Macalester College. It has been accepted for inclusion in English Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. BODIES IN THE MARGINS Refiguring the Rebetika as Literature Sophia Schlesinger Faculty Advisor: Andrea Kaston-Tange Macalester English Department Submitted April 25th, 2020 Abstract This thesis engages a literary analysis of a corpus of songs and recordings known as the rebetika (sing. rebetiko), which prospered in the port districts of major cities throughout the Aegean in the early 20th century. Engaging the rebetika as literary texts, I argue, helps us understand how they have functioned as a kind of pressure point on the borders between nation and Other. Without making unproveable biographical claims about the motives of the music progenitors, I examine why so many have reached for the rebetika as texts with which to articulate various political and cultural desires. Using a multidisciplinary theoretical framework that includes Elaine Scarry, Stuart Hall, Edward Said, Mark C. -
2589Booklet.Pdf
ENGLISH P. 2 DEUTSCH S. 4 Michalis Terzis is one of the A. Papadopoulos and ERT documentary film. “A!” was awarded First most important contemporary Prize for the music and the documentary, overall, by the Municipality Greek composers. He started his of Asty, Italy in 1988. musical career in 1973 by playing His works have been performed and recorded by the most famous songs by Mikis Theodorakis, Manos Greek singers and he has many song collections with well-known Hatzidakis and New Wave as well names including: George Dalaras, Dimitra Galani, Lavrendis Machairitsas, as his own compositions at music Glykeria, Maria Dimitriadi, Kostas Makedonas, Stamatis Kokotas, Alkistis theatres (“Boîte”) in Plaka, in the Protopsalti, Kostas Smokovitis, Eleftheria Arvanitaki, Kostas Karalis, Nena historical part of Athens beneath Vevetsanou, Sofia Michailidou, Gerasimos Andreatosi, etc. the Acropolis. He recorded his first pieces, “Dirges” and “Hymn for His album “Nostimon Imar” (Twelve Greek Folk Dances for 20 Great Cyprus”, in 1976 using the lyrics of Greek Soloists) was a huge success, and its performance at Theatre the great Greek poet Yannis Ritos. Herodeion in Athens was broadcast on ERT television. The film score for “Limnos the Cherished” won First Prize at the Thessalonika That same year Mikis Theodorakis presented Michalis Terzis and his Film Festival in 1988 as well as an award from the Greek Ministry songs at a sold-out concert at “Panathinaiko Stadium” in Athens. In of Culture (Melina Mercouri). Between 1996 and 2001 he released following years Michalis wrote and recorded many pieces including three song collections. instrumental music, lyrical songs and traditional elegies, as well as music for theatre, TV and film productions. -
Conon and Rhodes: the Troubled Aftermath of Synoecism , Greek, Roman and Byzantine Studies, 24:4 (1983:Winter) P.333
WESTLAKE, H. D., Conon and Rhodes: The Troubled Aftermath of Synoecism , Greek, Roman and Byzantine Studies, 24:4 (1983:Winter) p.333 Conon and Rhodes: The Troubled Aftermath of Synoecism H D. Westlake HODES was a late developer. It was not until the beginning of R the Hellenistic age that the Rhodians extracted the full benefit of the environmental advantages with which their island was richly endowed and transformed it from a backwaterl into one of the most prosperous and powerful states in the Greek world.2 The turning point was undoubtedly the synoecism of the three hitherto indepen dent cities, which was implemented soon after the revolt from Athens in 412, and the foundation of the new capital, Rhodes, on a well chosen site at the northern extremity of the island. For many years, however, progress towards stability and power was slow. The Spartans must have given their blessing to the two new projects and have supported the oligarchical regime which evidently assumed control after the revolt, but their interest in the island was largely confined to its value to them as a naval base. Soon after the revolt a rising against Sparta, presumably by Rhodians faithful to Athens, was threatened (Diod. 13.38.5), and although it was suppressed (I 3.45. 1), rivalry be tween opposing factions doubtless continued. Lindus had had a demo cratic government not long before the synoecism,3 though not neces sarily Ialysus or Camirus, and, as will be shown below, democratic feeling was strong in the first decade of the fourth century. -
Saul and Gladys Weinberg (Sgw)
SAUL AND GLADYS WEINBERG (SGW) BOX 6 (P.P.032) Note: dates follow the American system (month/day/year) Item Place/People No. of Date Notes No. neg. on back Aegina 10 0001 Temple of Aphaia Aigina – T. of Aphaia 0002 Temple of Aphaia Aigina – T. of Aphaia 3 0003 Temple of Aphaia Aigina – T. of Aphaia 3 0004 Temple of Aphaia Aigina – T. of Aphaia 3 0005 Temple of Aphaia Aigina – T. of Aphaia 3 0006 Temple of Aphrodite Aigina – T. of Aphrodite 3 0007 Landscape [Kolona] Aigina – Prehist. Site 3 0008 Harbor Aigina – harbor 3 0009 Fishing boats Aigina – harbor 3 Acropolis ca. 10 0010 Parthenon Parthenon thru Prop. 645 Mr. Hill coming down Anavyssos 2 0011 Olive tree Anabysos – olive tree 464 0012 Excavating salt Anabysos – salt 464 Argolid ca. 16 0013 Stone wall/bridge Bridge at Lessa 202 0014 Stone wall Lessa? 464 0015 Stone walls Lessa? walls 202 0016 Stone walls Asine - walls 202 0017 Field and mountains Asine from W. 202 0018 Fields View of Midea – (see 202 negative) 0019 View down a valley Midea – Myc. walls 202 0020 Stone walls Midea – Myc. Walls 202 0021 View of a valley Midea – to W. 202 0022 Stone construction Kephalari - Pyramid 202 0023 View of plains and fields Midea – view to Argos 202 0024 Church 202 0025 Entrance to church 202 0026 Church with Cyprus trees Merbaka 202 0027 Small church 202 0028 View of hills Argive Heraeum 202 Argos 7 0029 Fields with mountains Argos – from S 202 0030 Stone fort on a hill Argos - Larisa 202 0031 Monastery on hill Argos - 202 0032 Stone wall Argos – Larisa 202 0033 Stone castle Argos to NW. -
Natural Disasters, Geotourism, and Geo-Interpretation
Geoheritage https://doi.org/10.1007/s12371-018-0316-x ORIGINAL ARTICLE Natural Disasters, Geotourism, and Geo-interpretation Piotr Migoń1 & Edyta Pijet-Migoń2 Received: 27 June 2017 /Accepted: 4 July 2018 # The Author(s) 2018 Abstract Natural disasters may be considered as opportunities to learn about the magnitude of natural processes and to better understand the role of human factors, especially exposure to risk. In this paper, we look at sites of past natural disasters from the perspective of geotourism. In a number of archeological sites from antiquity, one may see evidence of thorough destruction, mainly due to earthquakes and volcanic eruptions, although these sites are explored as glimpses into the past style of life rather than lessons about the power of nature. Twentieth and twenty-first century disasters are commemorated with monuments and plaques, but the tangible evidence of destruction is often quickly erased, both intentionally and due to post-event natural processes themselves. In this way, opportunities to use disaster sites as learning grounds are lost. However, there are examples of educational trails and museums, which illustrate the value of preserving some evidence of infrequent, but catastrophic events. Keywords Dark tourism . Disasters . Earthquakes . Geomorphological change . Geotourism . Mass movements . Volcanic eruptions Introduction understandable. Whereas complete rebuilding may take years or even decades, obliteration of landform change usually pro- Most natural disasters, apart from disrupting everyday life -
Oli Mazi 2014
OLIFebruary2014 MAZI Your guide to Faith, Dance, and Fellowship #FDF2014 www.yourFDF.org What’s New? 1 Get connected! As a parallel to our theme this year, we are launching an FDF app! Find the app by searching “Greek Orthodox Folk Dance & Choral Festival” in the app store. Available on iOS and Android products! (Available for Windows and Blackberry via web browsing.) 2 #ThrowBackThursday! For the past 4 weeks, we’ve asked you to share your favorite FDF memories via social media. Check some of our favorites out on page 24. 3 Glykeria in concert! Legendary Glykeria will be performing an exclusive FDF performance. 4 A sit-down awards banquet is back! In the past few years, venue constraints meant that we had to In this issue: separate dinner from our awards program. However, this year we’ve been able to secure the neighboring convention center to host our full Sunday Night Dinner & Awards Banquet! Welcome Letter from His Eminence Metropolitan Gerasimos 2 Letter from His Eminence Archbishop Demetrios 3 Letter from Congressman Edward R. Royce 4 Welcome to our Guest Hierarchs 5 Welcome Letter from Fr. Gary Kyriacou 7 Letter from the 2014 Managing Director 8 Metropolis News- Strategic Plan to Chart New Course for Metropolis 9 Metropolis Philoptochos News 10 Memorials 11 Metropolis Calendar Of Events 12 Metropolitan Anthony Humanitarian Award 13 Elios Society Award of Excellence 15 “Theres An App for That!” 16 Diakonia 18 Workshops 20 Congratulations! 23 A Thracian Treasure from a Young Greek American 23 Social Media Shoutout 24 Friday Night Glendi Musicians + Margarita! 26 Glykeria 28 Youth and Young Adult Ministries Update 30 St. -
Music in Conflict: Palestine, Israel, and the Politics of Aesthetic Production
Music in Conflict: Palestine, Israel, and the Politics of Aesthetic Production Nili Belkind Submitted in partial fulfillment of the Requirements for the degree Of Doctor of Philosophy In the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Nili Belkind All Rights Reserved ABSTRACT Music in Conflict: Palestine, Israel and the Politics of Aesthetic Production Nili Belkind This is an ethnographic study of the fraught and complex cultural politics of music making in Palestine-Israel in the context of the post-Oslo era. I examine the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the occupied Palestinian territories), the complex positioning of Israel’s Palestinian minority, and contingent exposure to ongoing political violence. Cultural production in this period is also profoundly informed by highly polarized sentiments and retreat from the expressive modes of relationality that accompanied the 1990s peace process, strategic shifts in the Palestinian struggle for liberation, which is increasingly taking place on the world stage through diplomatic and cultural work, and the conceptual life and currency Palestine has gained as an entity deserving of statehood around the world. The ethnography attends to how the conflict is lived and expressed, musically and discursively, in both Israel and the occupied Palestinian territories (oPt) of the West Bank, encompassing different sites, institutions and individuals. I examine the ways in which music making and attached discourses reflect and constitute identities, with the understanding that musical culture is a sphere in which power and hegemony are asserted, negotiated and resisted through shifting relations between and within different groups.