DOCSLIB.ORG

CONSTRUCTING REALISM: the CONTEMPORARY GAZE in HELLENISTIC ART and POETRY • O K ? a Thesis Submitted to the Faculty of San

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CONSTRUCTING REALISM: the CONTEMPORARY GAZE in HELLENISTIC ART and POETRY • O K ? a Thesis Submitted to the Faculty of San CONSTRUCTING REALISM: THE CONTEMPORARY GAZE IN HELLENISTIC ART AND POETRY A6 A Thesis submitted to the faculty of San Francisco State University In partial fulfillment of the requirements for £L as the Degree • o k ? Master of Arts In Classics by Alice Jessica Chapman San Francisco, California May 2015 Copyright by Alice Jessica Chapman 2015 CERTIFICATION OF APPROVAL I certify that I have read Constructing Realism: The Contemporary Gaze in Hellenistic Art and Poetry by Alice Jessica Chapman, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Classics at San Francisco State University. Alexandra Pappas, Ph. Assistant Professor Michael Anderson Ph.D. Associate Professor CONSTRUCTING REALISM: THE CONTEMPORARY GAZE IN HELLENISTIC ART AND POETRY Alice Jessica Chapman San Francisco, California 2015 This paper explores the relationship between Hellenistic ekphrasis and contemporary sculpture. It posits that Hellenistic artists working in both media used references to Archaic and Classical sources alongside references to contemporary events and situations to turn the gaze of the viewer back onto contemporary society. By orienting the gaze of the viewer in this way, the artist created a deeper understanding of Hellenistic culture and society through a mixing of the old and the new. I certify that the Abstract is a correct representation of the content of this thesis. Date TABLE OF CONTENTS List of Figures........................................................................................................................ viii Introduction: Ptolemaic Alexandria..........................................................................................1 Chapter 1: Hellenistic Sculpture and Ekphrasis in Herodas IV .......................................... 12 Chapter 2: Women at Rest: Female Perspective in Hellenistic Alexandria........................38 Conclusion .............................................................................................................................. 60 Bibliography............................................................................................................................62 LIST OF FIGURES Figures Page 1. Map of the City of Alexandria................................................................................. 3 2. Plan of the city of Alexandria showing districts.................................................... 8 3. Pasquino Group..........................................................................................................19 4. Boy Strangling a Goose.......................................................................................... 23 5. Old Woman at the M arket.......................................................................................26 6. Sleeping Hermaphroditus (rear view)...................................................................... 48 7. Sleeping Hermaphroditus (top view)....................................................................... 50 8. Sleeping Ariadne...................................................................................................... 55 1 Introduction: Ptolemaic Alexandria This thesis creates a conversation between Hellenistic literature and contemporary sculpture to highlight the desire of artists to create a clear and integrated picture of the Hellenistic world for their audience, which included both contemporary images and the traditional forms of Archaic and Classical Greece. Although we mostly rely on Roman copies of Hellenistic originals for the study of Hellenistic sculpture and thus lose the context for these objects, Hellenistic literature can often be traced to large cities, the most important of which is the capital of Ptolemaic Egypt, Alexandria. This thesis focuses specifically on two poets working in Alexandria during the reign of Ptolemy II (309-246 b.c.), Herodas and Theocritus, both of whom addressed the Hellenistic landscape in new and enlightening ways. Examining these works alongside pieces of Hellenistic sculpture brings to light the intention of artists working in different media to understand the city around them and to bring that understanding to their audiences. The Hellenistic kingdoms, founded after the death of Alexander the Great in 323 b.c., provided a unique and complicated landscape for contemporary poets and visual artists to traverse. The conquests of Alexander the Great spread Greek culture and enforced Greek rule in lands as widely spread as Egypt, Greece and the western boarder of India. After Alexander’s death, kingdoms including the Seleucid, Attalid, Antigonid and Ptolemaic, took control of this vast empire, each hoping to subjugate the other kingdoms under its own rule. This new world provided artists with many challenges with which they were forced to contend in their works, as well as opportunities to grow and 2 develop existing art forms. For example, the foundation of kingdoms encouraged artists to travel much more broadly in safety, and we begin to see an emergence of artistic centers in what, only 50-100 years earlier, would have been the outskirts of the Greek world, where wealthy patrons tempted artists away from previous strongholds of artistic production like Athens. Artists were drawn to centers of learning where they could expect royal patronage as well as access to the first collections of Archaic and Classical Greek texts. On the other hand, diverse populations and changing cities created challenges for visual and literary artists, who had to contend with new audiences and experiences. In Hellenistic Alexandria, visual and literary artists grappled with integrating the ideas of the older Archaic and Classical texts and artworks with the new modern city and the different populations that inhabited it. Ultimately, as this thesis argues, visual and literary artists directed the gaze of their audiences in new and instructive ways, in order that they see the Hellenistic world as a mixture of the old and the new.1 In this chapter, I provide a framework for my discussion of artistic production in Hellenistic Alexandria by discussing the history of the city, its foundation, and its population. Alexander the Great founded the city of Alexandria on the island between the Mediterranean Sea and the Mareotis River in 331 b.c. He built Alexandria around the port city of Rhakotis, an Egyptian village with a deep harbor often utilized to dock large ships. 1 This is more fully discussed in chapters 1 and 2. 3 Rhakotis was a highly advantageous port since there was no fear of approaching ships running aground and it was protected by two surrounding landmasses (figure l).2 Figure 1: Map of the city of Alexandria Later, Rhakotis was integrated into the plan of the city and became its Egyptian quarter. The placement of the city, in the Nile Delta on the coast of the Mediterranean Sea, allowed it to thrive as the gateway between the Greek world and the Nile Valley. A few months after founding the city, Alexander the Great left his new capital to his viceroy Cleomenes, who continued with the city’s creation and expansion. The great architect and city planner Dinocrates of Rhodes (late fourth century b.c.) designed the city in a 2 Map from Putzger (1901). 4 Hippodamian grid plan.3 Unlike earlier city plans, which allowed the city to grow up organically, the Hippodamian grid plan, which was used as early as 460 b.c. to design the Piraeus harbor in Attica, created an ordered and organized rectangular grid with wide streets and centralized public spaces. The plan of Alexandria was based around a central Canopic road, which ran east to west along the spine of the city4 and another wider road, which ran north to south and intersected the Canopic road near the center of the city.5 Although historically it seems that Alexander the Great had little to do with the creation of Alexandria, since he left soon after he founded it, later authors like Plutarch describe the mythical foundation of the city as a prophetic and divine intervention by literary heroes of the Greek past. In his Life of Alexander, Plutarch (46-120 c.e) describes the foundation of Alexandria as the fulfillment of a dream, in which Alexander was visited by the poet Homer and told the location of his future capital: ειτα νύκτωρ κονμώμενος οψιν ειδε θαυμαστήν άνήρ πολιός ευ μάλα την κόμην και γεραρός τό είδος έδοξεν αύτω παραστάς λέγειν τα επη τάδε: νήσος επειτά τις εστι πολυκλύστω ένι πόντω,/ Αίγύπτου προπάροιθε: Φάρον δέ έ κικλήσκουσιν: “In the night, when he was sleeping, he saw the wonderful vision. A grey-haired man with a majestic figure appeared to stand beside him and say these things: there is some island in the stormy sea, in front of Egypt and men call it Pharos.”6 In his description of the dream, Plutarch uses a quote 3 See map on page 8. 4 Luisa Ferro and Giulio Magli posit that the orientation of this road was deliberately placed to correspond to the direction of the rising sun on Alexander the Great’s birthday (2012), 387. 5 Strabo, Geographica, 17.8. 6 Plut. Alex. 26.3. 5 from the Odyssey, νήσος έπειτά τις έστι πολυκλύστω ένι πόντω,/ Αίγύπτου προπάροιθε: Φάρον δέ έ κικλήσκουσιν: “there is some island in the stormy sea, in front of Egypt: and men call it Pharos,”7 and turns it into a prophecy for Alexander, making Alexander into a modern day Odysseus and creating a parallel between Hellenistic monarchs and the Homeric kings of the Greek past. Although this foundation myth was written long
Load more

Recommended publications
  • Colonial Education and Class Formation in Early Judaism
    COLONIAL EDUCATION AND CLASS FORMATION IN EARLY JUDAISM: A POSTCOLONIAL READING by Royce Manojkumar Victor Bachelor of Science, 1988 Calicut University, Kerala, India Bachelor of Divinity, 1994 United Theological College Bangalore, India Master of Theology, 1999 Senate of Serampore College Serampore, India Dissertation Presented to the Faulty of the Brite Divinity School in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Biblical Interpretation Fort Worth, Texas U.S.A. May 2007 ii iii © 2007 by Royce Manojkumar Victor Acknowledgments It is a delight to have the opportunity to thank the people who have helped me with the writing of this dissertation. Right from beginning to the completion of this study, Prof. Leo Perdue, my dissertation advisor and my guru persevered with me, giving apt guidance and judicious criticism at every stage. He encouraged me to formulate my own questions, map out my own quest, and seek the answers that would help me understand and contextualize my beliefs, practices, and identity. My profuse thanks to him. I also wish to thank Prof. David Balch and Prof. Carolyn Osiek, my readers, for their invaluable comments and scholarly suggestions to make this study a success. I am fortunate to receive the wholehearted support and encouragement of Bishop George Isaac in this endeavor, and I am filled with gratitude to him. With deep sense of gratitude, I want to acknowledge the inestimable help and generous support of my friends from the Grace Presbytery of PC(USA), who helped me to complete my studies in the United States. In particular, I wish to thank Rev.
    [Show full text]
  • Abraham (Hermit) 142F. Aristode 160 Acacius (Bishop Atarbius (Bishop Of
    INDEX Abraham (hermit) 142f. Aristode 160 Acacius (bishop Atarbius (bishop of Caesarea) 80f., 86f., of Neocaesarea) 109f., 127 91 Athanasius 63, 67ff., 75 Acacius (bishop Athanasius of Balad 156, 162 of Beroea) 142ff. Athenodorus (brother Aelianus 109 of Gregory al-Farabi 156 Thaumaturgus) 103, 105, Alexander (bishop 133 of Comana) I 26f., 129, Athens 120 132 Augustine 9-21, 70 Alexander (of the Cassiciacum Dialogues 9, 15ff. "Non-Sleepers" Corifessions 9-13, 15, monastery) 203, 211 18, 20f. Alexander (patriarch De beata vita 16ff. of Antioch) 144 De ordine 16ff. Alexander of Retractions 19 Abonoteichos 41 Soliloquies 19f. Alexander Severus Aurelian (emperor (emperor 222-235) 47 270-275) 121 Alexandria 37, 39f., 64, Auxentios 205 82, 101, 104, 120, Babai 172 n. II, 126f., 129 173ff. n. 92, 143, Babylas 70 156, 215 Baghdad 156 Alexandrian Christology 68 Bardesanism/Bardesanites 147 Amaseia 128 Barhadbeshabba 'Arbaya 145 Ambrose 70, 91 Barnabas 203 n. 39 Basil of Caeserea 109f., 117, Anastasios (monk) 207 121ff., 126f., Anastasius (= Magundat) 171 131, 157, Ancyra 113 166 Andrew Kalybites 207 Basilides 32, 37ff. Andrew the Fool 203 Beroea 141, 142 Annisa 112f. Berytus 101, 103f., Antioch 82, 105, 120 I I If., 155, 160, 215 Caesarea (Cappadocia) 129 Antiochene theology 72f., 143 Caesarea (Palestine) 80ff., 87, Antiochos the African 205 91, 92, 100, Antony 63,69f., 101, 103ff., 75f. 120 Antony / Antoninus Cappadocia 46ff., 53, (pupil of Lucian) 65 122 Apelles 51 Carpocrates 32, 39, 41 Arius/ Arianism/ Arians 65ff., 80ff., Carthage 47,49, 51, 92, 148 53ff., 57f. 224 INDEX Cataphrygian(s) 50ff., 56, 59 David of Thessalonike 205 Chaereas (comes) 140 Dcmosthenes (vicarius Chalcedon 75 of Pontica) III Chosroes II 17Iff., 175, Diogenes (bishop 177, I 79f., of Edessa) 144 182, 184, Dionysius (pope 259~269) 106 188 Doctrina Addai 91 n.
    [Show full text]
  • Does Κεφαλη (“Head”) Mean “Source” Or “Authority Over” in Greek
    Wayne Grudem, “Does Kefalh (“Head”) Mean “Source” Or “Authority Over” in Greek Literature? A Survey of 2,336 Examples,” Trinity Journal ns 6.1 (Spring 1985): 38-59. Does Kefalh (“Head”) Mean “Source” Or “Authority Over” in Greek Literature? A Survey of 2,336 Examples* Wayne Grudem Trinity Evangelical Divinity School [p.38] (One of the sensitive issues currently being discussed in many churches and seminaries is what the Bible has to say about women. So much has been written on this subject during the past decade that it is now becoming difficult to find anything new or fresh or challenging: positions are becoming hardened, justified by the same arguments someone else has already advanced, without close and humble examination of the validity of those arguments. Dr. Grudem’s article breaks that mold: his essay examines an enormous quantity of primary data to provide some controls in establishing the meaning of “head” and “headship” in the New Testament—and as a result he demonstrates convincingly that one major strand of modern interpretation, repeated from book to book, is simply wrong. Because of the primary nature of this research, we have decided to publish his essay here, even though it is simultaneously being published as an appendix to the new edition of George Knight’s The Role Relationship of Men and Women, published by Moody Press. —Ed.) When the New Testament says that the “head of every man is Christ” and “the head of a woman is the man” (1 Cor 11:3), or that “the husband is the head of the wife as Christ is the head of the church” (Eph 5:23), Christians have usually understood the word head to mean “authority over.” Thus, Christ is the authority over the church and a husband is the authority over his wife.
    [Show full text]
  • Royal Power, Law and Justice in Ancient Macedonia Joseph Roisman
    Royal Power, Law and Justice in Ancient Macedonia Joseph Roisman In his speech On the Crown Demosthenes often lionizes himself by suggesting that his actions and policy required him to overcome insurmountable obstacles. Thus he contrasts Athens’ weakness around 346 B.C.E. with Macedonia’s strength, and Philip’s II unlimited power with the more constrained and cumbersome decision-making process at home, before asserting that in spite of these difficulties he succeeded in forging later a large Greek coalition to confront Philip in the battle of Chaeronea (Dem.18.234–37). [F]irst, he (Philip) ruled in his own person as full sovereign over subservient people, which is the most important factor of all in waging war . he was flush with money, and he did whatever he wished. He did not announce his intentions in official decrees, did not deliberate in public, was not hauled into the courts by sycophants, was not prosecuted for moving illegal proposals, was not accountable to anyone. In short, he was ruler, commander, in control of everything.1 For his depiction of Philip’s authority Demosthenes looks less to Macedonia than to Athens, because what makes the king powerful in his speech is his freedom from democratic checks. Nevertheless, his observations on the Macedonian royal power is more informative and helpful than Aristotle’s references to it in his Politics, though modern historians tend to privilege the philosopher for what he says or even does not say on the subject. Aristotle’s seldom mentions Macedonian kings, and when he does it is for limited, exemplary purposes, lumping them with other kings who came to power through benefaction and public service, or who were assassinated by men they had insulted.2 Moreover, according to Aristotle, the extreme of tyranny is distinguished from ideal kingship (pambasilea) by the fact that tyranny is a government that is not called to account.
    [Show full text]
  • A Note on the Thrax of Euphorion: Sh 15.Ii.1Ff
    ANUARI DE FILOLOGIA. ANTIQVA ET MEDIAEVALIA (Anu.Filol.Antiq.Mediaeualia) 4/2014, pp. 17-26, ISSN: 2014-1386 A NOTE ON THE THRAX OF EUPHORION: SH 15.II.1FF. JOSEP ANTONI CLUA SERENA Universitat de Lleida [email protected] ABSTRACT This paper tries to consider the Archaic or Classical origins of Dike or dike, starting by Hesiod and Aeschylus or some indexes which show its religious meaning, and its evolution from the “religious” treatment to the “exemplum” by Euphorion in his “curse poem” the Thrax. Although the probable ironical nature of the Thrax would suggest that Dike is a literary rather than religious figure, it is difficult to support so, because the poem may well be something of a mock- complaint on either a dog or another pet animal, but this does not imply that Dike, as a figure, is not serious. The relevant lines of the poem (SH 415.ii.1ff.) are quite serious in themselves: Dike and Themis are introduced as powerful divine entities regulating human life. But references to the possible “dog” in the Thrax may involve “l´énigme par fragmentation” and this shows the importance attached to “enigma” in Greek texts, as well as in the Thrax, according to Hurst´s proposal. KEY WORDS: Euphorion; Thrax; Dike; ”enigma”; exemplum. SOBRE EL TRACIO DE EUFORIÓN: SH 415.II.1FF. RESUMEN Este artículo trata de considerar los orígenes arcaicos de Dike o dike, comenzando por Hesíodo y Esquilo, así como por algunos índices que muestran su significado religioso. También se analiza su evolución desde la consideración “religiosa” de dicha diosa hasta el exemplum citado por Euforión en su Tracio.
    [Show full text]
  • Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected]
    University of Richmond UR Scholarship Repository Classical Studies Faculty Publications Classical Studies 2016 Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/classicalstudies-faculty- publications Part of the Classical Literature and Philology Commons Recommended Citation Damer, Erika Zimmermann. "Iambic Metapoetics in Horace, Epodes 8 and 12." Helios 43, no. 1 (2016): 55-85. This Article is brought to you for free and open access by the Classical Studies at UR Scholarship Repository. It has been accepted for inclusion in Classical Studies Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Iambic Metapoetics in Horace, Epodes 8 and 12 ERIKA ZIMMERMANN DAMER When in Book 1 of his Epistles Horace reflects back upon the beginning of his career in lyric poetry, he celebrates his adaptation of Archilochean iambos to the Latin language. He further states that while he followed the meter and spirit of Archilochus, his own iambi did not follow the matter and attacking words that drove the daughters of Lycambes to commit suicide (Epist. 1.19.23–5, 31).1 The paired erotic invectives, Epodes 8 and 12, however, thematize the poet’s sexual impotence and his disgust dur- ing encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of harsh invective, and the virulent targeting of the mulieres’ revolting bodies is precisely in line with an Archilochean poetics that uses sexually-explicit, graphic obscenities as well as animal compari- sons for the sake of a poetic attack.
    [Show full text]
  • MONEY and the EARLY GREEK MIND: Homer, Philosophy, Tragedy
    This page intentionally left blank MONEY AND THE EARLY GREEK MIND How were the Greeks of the sixth century bc able to invent philosophy and tragedy? In this book Richard Seaford argues that a large part of the answer can be found in another momentous development, the invention and rapid spread of coinage, which produced the first ever thoroughly monetised society. By transforming social relations, monetisation contributed to the ideas of the universe as an impersonal system (presocratic philosophy) and of the individual alienated from his own kin and from the gods (in tragedy). Seaford argues that an important precondition for this monetisation was the Greek practice of animal sacrifice, as represented in Homeric epic, which describes a premonetary world on the point of producing money. This book combines social history, economic anthropology, numismatics and the close reading of literary, inscriptional, and philosophical texts. Questioning the origins and shaping force of Greek philosophy, this is a major book with wide appeal. richard seaford is Professor of Greek Literature at the University of Exeter. He is the author of commentaries on Euripides’ Cyclops (1984) and Bacchae (1996) and of Reciprocity and Ritual: Homer and Tragedy in the Developing City-State (1994). MONEY AND THE EARLY GREEK MIND Homer, Philosophy, Tragedy RICHARD SEAFORD cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521832281 © Richard Seaford 2004 This publication is in copyright.
    [Show full text]
  • Greek Lyric Syllabus
    Greek 115 Greek Lyric Grace Ledbetter Fall 2010: Early Greek Poetry and Philosophy This seminar will focus on the development of early Greek poetry and philosophy (including Archilochus, Callinus, Tyrtaeus, Alcaeus, Alcman, Sappho, Hipponax, Mimnermus, Semonides, Solon, Homeric Hymns to Demeter and Apollo, Xenophanes, Heraclitus, Parmenides, and Pindar) paying particular attention to questions of normativity and subversion, exclusivity and inclusion, monstrosity, aristocracy, praise, integration, anxiety, connection, deceit, language, and bees. Required books 1) Hesiod, Theogony. ed. Richard Hamilton, Bryn Mawr Commentary. 2) D. Campbell, Greek Lyric Poetry. 3) Homeric Hymn to Apollo, eds Peter Smith and Lee Pearcy, Bryn Mawr Commentary. 4) Homeric Hymn to Demeter, ed. Julia Haig Gaisser, Bryn Mawr Commentary. 5) Heraclitus: Peri Phuseus, Henry W. Johnston, jr. Bryn Mawr Commentary. 6 Parmenides, eds David Sider and Henry Johnston, Bryn Mawr Commentary. Required work Weekly reading, presentations and discussion Weekly short translation quizzes, marked but not graded Midterm exam Thursday, 10/28 Final exam will be scheduled by registrar (date will be posted Oct. 1) Final Paper due 12/18/10 (topics and drafts due earlier) 1 Week 1 (9/2) Reading: H. Fraenkel, Early Greek Poetry and Philosophy. Individual presentations on Fraenkel Week 2 (9/9) Hesiod. Reading in Greek: Theogony 1‐616 Rest of Theogony in English Works and Days in English M. L. West, Theogony. Introduction + commentary. Week 3 (9/16) Archilochus, Callinus, Tyrtaeus Reading in Greek: all of Archilochus in Campbell + Archilochus, “cologne epode” (text on blackboard) all of Callinus and Tyrtaeus in Campbell Secondary (required) B. Snell, “The Rise of the Individual in the Early Greek Lyric” in his The Discovery of the Mind, ch.
    [Show full text]
  • Process: the Example of the Sleeping Hermaphrodite
    BARRY X BALL: REMAKING SCULPTURE Process: The Example of the Sleeping Hermaphrodite Barry X Ball reinvents traditional sculptural formats and existing art historical landmarks using state-of-the-art 3D scanning technology, computer-aided design (CAD) software, and computer- numerically-controlled (CNC) milling machines, in combination with centuries-old craft techniques requiring thousands of hours of detailed handwork. The Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Louvre Museum in Paris offered an ideal starting point for Ball’s artistic explorations. Not only is the subject an embodiment of duality (see the object label and exhibition catalogue for more information on this), the object is a composite work of art interpreted by numerous authors over centuries. The figure is a second-century CE Roman copy of a second-century BCE Greek original. Discovered near the Baths of Diocletian in Rome in 1608, it joined the distinguished collection of Cardinal Scipione Borghese, who, in 1619, commissioned the young Gian Lorenzo Bernini to carve the mattress for it and David Larique to restore the figure. Ball continues this engagement with the work in the 21st century, reconsidering it for a contemporary audience and using the technological tools at his disposal. The illustrated review that follows elucidates the multi-step process Ball undertakes in making his Masterworks, like Sleeping Hermaphrodite. Ball works with museums to make extremely high-resolution three-dimensional digital scans of works of art. Because of their microscopic detail, the scans are very useful to the institutions charged with preserving the sculpture. Ball donates the scans to the museums for documentation and conservation and uses them Digital scanning of Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Salle des Caryatids, as his point of departure for creating a new work.
    [Show full text]
  • 1. Compare and Contrast the High Renaissance Period with the Baroque Period
    Preliminary Handout: David and Goliath Summarize the story of David and Goliath: How is David significant in Medici Florence? High Renaissance Period The Baroque Period Dates of the period: Dates of the period: Locations: Locations: Influences on the period: Influences on the period: Stylistic Characteristics: Stylistic Characteristics: Compare Donatello's David, Michelangelo's David, and Bernini’s David Donatello's David Michelangelo's David Bernini’s David Date Period Material Height Nude? Contrapposto? Moment in story: David represents... Original location: Stylistic Characteristics: Short Answer Essays: Please write a concise paragraph essay answering each of the questions below. You will work in groups and do a short two-minute presentation to the class on one question. 1. Compare and contrast the High Renaissance period with the Baroque period. What are the important influences and stylistic differences? 2. What are the primary defining elements of Italian Baroque sculpture and architecture? Select one Baroque sculpture and one Baroque building in Italy and discuss how they exemplify the style. 3. Compare and contrast Donatello, Michelangelo, and Bernini's David. How does each work embody the stylistic principles of its age? 4. Describe Bernini's Apollo and Daphne. What moment does it depict in Ovid's myth? Why would the Church approve of such a work? 5. How has Bernini drawn from his knowledge of theater, writing plays, and producing stage designs to create an emotionally dramatic experience for worshipers that involve architecture, sculpture, and painting at the Cornaro chapel? 6. How is Gianlorenzo Bernini’s work typical of the Baroque period? Give several examples of his work that support your answer.
    [Show full text]
  • Asclepius and Epidaurus: the Sapiential Medicine As Divinatory Art Between Therapeutic Landscapes and Healing Dreams
    Cosmos and History: The Journal of Natural and Social Philosophy, vol. 15, no. 1, 2019 ASCLEPIUS AND EPIDAURUS: THE SAPIENTIAL MEDICINE AS DIVINATORY ART BETWEEN THERAPEUTIC LANDSCAPES AND HEALING DREAMS Nicola Luigi Bragazzi, Mariano Martini, Riccardo Zerbetto, Tania Simona Re ABSTRACT: Epidaurus was in the antiquity a therapeutic complex which included several buildings to which people came from every part of Greece to be cured by the god Asclepius, a deity venerated from 500 before Christ to the fourth-fifth century anno Domini, when many other pagan cults had already ceased to exist. Epidaurus was a very complex structure, a sort of city-state or sovereign state, able to host thousands of adepts. Here, patients were subject to ablution, purification and sporadic fasting. Asclepius appeared in a dream, in a sort a practice of magic-ritual and sapiential medicine. KEYWORDS: Asclepius; Epidaurus; Sapiential medicine; Templar medicine; Incubation sanctuary Originally, medicine was a divinatory art. Hoverer, the term "divination" has lost its original meaning throughout the centuries, with respect to the ancient times and, in particular, to the Greek archaic world, in which it held an enormous value. Divination, in fact, was the most genuine form of knowledge, a sort of half-closed door or bridge that connected the human world with the divine one. Apollo, a plague-dealer with a silver bow, is considered the father of medicine. We see him at the beginning of the Iliad with his poisoned arrows and darts disseminating illness and destruction to the Achaeans. The death www.cosmosandhistory.org 193 COSMOS AND HISTORY 194 inflicted by the divinity is terribly long and painful.
    [Show full text]
  • Trafalgar Square Publishing
    Trafalgar Square Publishing Spring 2019 Best-Selling Titles Spring 2019 9781781452929 9781781453278 9781781453155 9781781453414 9781781452912 9781445670072 9781849909679 9781785941689 9780712352253 9780712352505 9780712352765 9781787390164 9781785003240 9781785035517 9781783963201 9781783963140 9781908531841 9781912050420 9780008135782 9781784977870 9781784979911 9781788542807 9781786694430 9781784082796 9781786064653 Spring 2019 Best-Selling Titles 9781921997969 9780565094423 9780565094409 9780857301758 9781843447740 9781910633847 9781912374038 9781910633809 9780957148345 9781843681441 9781843681311 9781509823512 9780143574224 9781844137879 9780718185336 9781846149429 9780720620054 9781910258637 9781910258743 9781910258590 9781910497364 9781786090010 9781787411883 9780750979948 9780750985598 Don’t Miss Contents 32 Glimpses of Animals/Pets .......................................................................1, 19–20, 97–101, 158 the Unknown Antiques & Collectibles/Crafts & Hobbies ................................25, 152–153, 155 Architecture ..............................................................................90, 107, 148, 154 Art/Design ................................................ 8, 25, 30, 102, 107, 123, 147, 151, 145 Autobiography/Memoir ......................... 29–30, 73, 83, 85, 87, 99, 101, 145–146 Biography .................. 3–4, 26, 30, 85, 99, 112, 114–119, 121, 145, 147, 157, 159 Body/Mind/Spirit ............................................................................... 91, 105, 145 Business/Career ..........................................................................................
    [Show full text]