DOCSLIB.ORG

The Force of Tradition in Early Greek Poetry and Painting (PDF, 2.7MB)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Force of Tradition in Early Greek Poetry and Painting (PDF, 2.7MB) The force of tradition in early Greek poetry and painting ANNE MACKAY TradiTion is a universal socio-cultural In recent years, Homeric studies have and historical phenomenon. It exerts a force in explored in great depth the finer points of the society that is both normative and formative; it narrative techniques peculiar to traditions affirms values and imposes constraints against of oral and oral-derived poetry, including the changing them; and yet all the while it responds more recent explorations of how meaning to the needs and expectations of the society is constructed in an oral-traditional context. within which it is established. Tradition is A useful starting-point, therefore, is a brief deeply embedded in human life, and determines overview of some of the characteristic features the human world-view, yet because it is so of the ancient Greek oral-derived tradition. pervasive, it generally works below the horizon The Homeric epics are for us fixed texts, but of our perceptions. It is only when we study as the cumulative research of Milman Parry a culture other than our own, and especially in the first third of the twentieth century one far removed in time as well as divergent made clear, the texts of the Iliad and the in other aspects, that we have the distance to Odyssey manifest the hallmarks of an oral epic recognise the traditional patterns of activity tradition, and so are to be regarded as oral- for what they are. In a highly literate culture, derived: they are the best evidence we have the effects of tradition are complex and subtle: for traditional epic in early Greece, which, as even in a society that treasures innovation and Parry came to recognise, was not a memorised originality there are traditions, but they are recital, but a recreation in performance, fresh interwoven into the societal fabric below the every time.1 surface. By contrast, in a pre-literate society, The most important determining the traces of the traditions that governed the characteristic of Homeric epic is its strict oral and the pictorial transmission of culture, metre of dactylic hexameter, which is best history and beliefs tend to be much more appreciated when the ancient Greek text is evident, and comparative analysis of the two heard, rather than read visually. The bards traditions allows insight into the workings composed their epic in this rolling rhythmic of both production and reception within a pattern as they went along in performance, traditional context. This paper presents some but it would have been difficult for them to of the major parallels in narrative strategies come up with impromptu phrases that would and techniques between the oral poetic and properly fit the metrical demands, and so the painted pictorial traditions of early Greece, traditional poetry is composed of recurrent ▲ Detail, fig. 13b, p. 49. and their effects. traditional phrases that were already pre- 40 HUMANITIES AUSTRALIA 10 · 2019 existing within the tradition: the bards needed There is a lot more complexity to how these to have a vast repertoire of descriptive phrases metrical formulae are fitted together in the and even whole lines for reference under any narrative, but this overview should serve to grammatical circumstances to characters, provide a general idea of how a traditional bard objects and events. Each of the following is able to compose his epic in performance examples of these ‘formulae’ has the same drawing on his repertoire of pre-existing metrical value and so can slot into the same phrases. The significance of these phenomena position in a Greek hexameter line (stressed for production was recognised in the landmark syllables are underlined). studies of the early to mid twentieth century,2 but it is only more recently that scholars have ἄναξ ἀνδρῶν ᾿Αγαμέμνων started to try to recreate the audience’s reception (Agamemnon, lord of men) process in an oral traditional societal context. ὑφ’ ῞Εκτορος ἀνδροφόνοιο In particular consequence of the signal work (by Hektor the man-slayer) of the late John Miles Foley, it is now widely recognised that these formulaic phrases are θεὰ γλαυκῶπις ᾿Αθήνη· much more integral to the reception of epic (the goddess, shining-eyed Athena) narrative than was initially perceived.3 They Those examples apply to people but formulae are not ornamental epithets, as used to be for objects work in a similar way and tend to assumed: a name-phrase such as πόδας ὠκὺς stress the most significant quality of the item: ᾿Αχιλλεύς (Achilleus swift of foot) goes beyond mule-carts are usually well-wheeled or well- mere ornament and encodes a cumulative polished, houses are well-constructed, ships are reference to Achilleus’ essential persona, which swift or well-benched. is thus additionally affirmed every time a There are also situational formulae: listener hears the phrase in a context. Over recurrent situations, such as someone time, given a hearer’s increasing experience of responding to another character’s speech, the numerous contexts in which the phrase can utilise a full-line formula where only the has been heard, it acquires for the individual names are variable. The name phrase may be hearer’s reception process a resonance that placed in the middle of the line but most often draws into each specific context a fleeting will occur at the end of the line, as in these echoic awareness of all the other contexts two examples: in which it has been encountered, so that the figure’s entire persona is τὴν δ’ ἀπαμειβόμενος προσέφη νεφεληγερέτα Ζεύς· (Od. 1.63) 4 immanent in the reference. (To her in answer spoke cloud-gathering Zeus). It is important to recognise τὴν δ’ ἀπαμειβόμενος προσέφη ξανθὸς Μενέλαος· (Od. 4.147) that these formulae are used (To her in answer spoke fair-haired Menelaos). extra-contextually — Achilleus can be described as swift of foot τὸν δ’ αὖ Τηλέμαχος πεπνυμένος ἀντίον ηὔδα· (Od. 4.593) even when he has been sitting (To him then perceptive Telemachos answering spoke). down for a while (for instance τὸν δ’ αὖ Νεστορίδης Πεισίστρατος ἀντίον ηὔδα· (Od. 4.155) at Iliad 9.193–96, and on through (To him then Nestor’s son Peisistratos answering spoke). Book 9). In addition, the Homeric The name-phrase changes but the line remains bard has a further repertoire of set piece otherwise the same. These situational formulae situations—type-scenes—that can be utilised in serve in a small way to signal what is to follow: many different contexts: for instance, a warrior obviously here they introduce an answering naturally puts on his armour before battle, and response; additional, less self-evident signals he follows a logical order: first the greaves, then would further be picked up by a listener the breastplate and sword belt, followed by the steeped in the tradition, as an important means shield, helmet and spear. This can be narrated of marking the narrative structuring. in a minimalist way in the basic model, as HUMANITIES AUSTRALIA 10 · 2019 41 for the arming of Paris in Iliad 3, 330–38 (the that problem.’6 As soon as people are described italicised portions are the recurrent standard as taking their seats for a feast, the expectation features, repeated more or less exactly in other is created of an incipient and important change arming passages in which, however, descriptive of direction in the story-line, such as the elaborations of the various items are likely to resolution of a point of conflict. be interspersed): My own work over the past few decades has followed my initial recognition that The greaves first he set around his shins, Attic black-figure vase-painting of the sixth fine ones, fitted with silver at the ankles. century BC exhibits many of the features Next he put on the corselet around his chest, that characterise the Homeric epics as oral- the one of his brother Lykaon: it fitted him too. traditional in nature, given, of course, that they Over his shoulders he slung his sword, studded with silver, work not verbally but visually. In traditional a bronze one, and then his shield, both broad and strong. oral epic the story relentlessly unfolds in real On his sturdy head he set his well-made helm, time in performance with no opportunity for crested with horsehair; and formidably the crest tossed from aloft. individual differences in speed of response. He took up his stout spear, which fitted the grip of his hand. A painted scene by contrast lacks the linear This basic account can be elaborated to a narrative story-line of epic poetry: instead it considerable length by describing each item presents a visual object that can be studied and and telling its history.5 The basic pattern is interpreted at length and at will. Nevertheless, a more or less fixed narrative sequence: any as will be explained, the overall approach of divergence is likely to be highly significant, the painter to expressing narrative meaning and to be picked up as such by the hearers in his scene is indisputably part of the same experienced in the tradition. It is noteworthy tradition-determined culture as the Homeric in a battle-poem such as the Iliad that there are poems. It is important, though, at this point to in fact only four occurrences of these extended stress that this is not in any way to suggest that arming sequences throughout all twenty-four the vase-painters were setting out to illustrate books of the poem. In each case, they signify Homeric narrative passages, text in hand as it that an important warrior is about to enter a were. Seldom in fact can we positively identify battle in which he will experience something a vase scene as corresponding indubitably momentous: in Book 3, Paris will duel with to a given passage from the Iliad or Odyssey.
Load more

Recommended publications
  • Catullus, Archilochus and the 'Motto'. Two Poems of Catullus Have Long Been Compared with Fragments of Ar- Chilochus
    I TWO CATULLIAN QUESTIONS L Catullus, Archilochus and the 'motto'. Two poems of Catullus have long been compared with fragments of Ar- chilochus. First, Catullus 40 and Archilochus 172 West (fully discussed by Hendrickson "CP" 20, 1925, 155); qwenan te mala mew, miselle Ravide, agit praccípítem in rrcos iambos ? quid dcus rtbi nonbene ad.vocatus ve cordcm parat excímre rimn? an uî penenias ín oravulgi? quidvis? qunlubet esse natus oPns? eris, quando quidcm mcos cttnores cwn longavoluisti amare poena. n&rep Auróppa, noîov Érppóoco tó6e tíg oùg rccr,p{epe epwctg fig cò rpìv ;1pfipqoOa; vOv òè 6l rol.ùq úocoîot gcwérrt fflog. This is known to be the beginning of a poem, since Hephaestion, who quotes l-2, only adduces the beginnings of poems; 2I0 ríg &pa òaíprov (quis d.eus) raì téoo 1oX,oúpevoE may well come from the same context. Moreover, as Hendrickson remarks, Lucian's (Pseudol. 1) paraphrase of the context of 223, which he says was addressed to one of toò6 repureteîg é,oopévoog (cf. praecípítem) rfi 1ol.fr t6v iópporv crúto0 who had re- viled the poet, seems to indicate that it went with 172; ín that case Lucian's 6 rcróòatpov &v0prone=míselle, and aiticq (qtoOvtc rai ùro0é- oeqtoî6 iúpporq will help to explain Catullus' application of iantbi to hen- decasyllables (though it does not need much explanation; cf. 54.6 and fr. 3). If Catullus had Archilochus in mind, he diverged from him in the last two lines, which envisage a situaúon quite different from that between Archilo- chus and Lycambes; the poem of Archilochus seems to have continued at considerable length and included the fable of the fox and the eagle (172- 181).
    [Show full text]
  • From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale**
    International Journal of Cultural Property (2006) 13:311–331. Printed in the USA. Copyright © 2006 International Cultural Property Society DOI: 10.1017/S0940739106060206 From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale** Abstract: The return of 13 classical antiquities from Boston’s Museum of Fine Arts (MFA) to Italy provides a glimpse into a major museum’s acquisition patterns from 1971 to 1999. Evidence emerging during the trial of Marion True and Robert E. Hecht Jr. in Rome is allowing the Italian authorities to identify antiquities that have been removed from their archaeological contexts by illicit digging. Key dealers and galleries are identified, and with them other objects that have followed the same route. The fabrication of old collections to hide the recent surfacing of antiquities is also explored. In October 2006 the MFA agreed to return to Italy a series of 13 antiquities (Ap- pendix). These included Attic, Apulian, and Lucanian pottery as well as a Roman portrait of Sabina and a Roman relief fragment.1 This return is forming a pattern as other museums in North America are invited to deaccession antiquities that are claimed to have been illegally removed from Italy. The evidence that the pieces were acquired in a less than transparent way is beginning to emerge. For example, a Polaroid photograph of the portrait of Sabina (Appendix no. 1) was seized in the raid on the warehousing facility of Giacomo Medici in the Geneva Freeport.2 Polaroids of two Apulian pots, an amphora (no. 9) and a loutrophoros (no. 11), were also seized.3 As other photographic and documentary evidence emerges dur- ing the ongoing legal case against Marion True and Robert E.
    [Show full text]
  • Attic Black Figure from Samothrace
    ATTIC BLACK FIGURE FROM SAMOTHRACE (PLATES 51-56) 1 RAGMENTS of two large black-figure column-kraters,potted and painted about j1t the middle of the sixth century, have been recovered during recent excavations at Samothrace.' Most of these fragments come from an earth fill used for the terrace east of the Stoa.2 Non-joining fragments found in the area of the Arsinoeion in 1939 and in 1949 belong to one of these vessels.3 A few fragments of each krater show traces of burning, for either the clay is gray throughout or the glaze has cracked because of intense heat. The surface of many fragments is scratched and pitted in places, both inside and outside; the glaze and the accessory colors, especially the white, have sometimes flaked. and the foot of a man to right, then a woman A. Column krater with decoration continuing to right facing a man. Next is a man or youtlh around the vase. in a mantle facing a sphinx similar to one on a 1. 65.1057A, 65.1061, 72.5, 72.6, 72.7. nuptial lebes in Houston by the Painter of P1. 51 Louvre F 6 (P1. 53, a).4 Of our sphinx, its forelegs, its haunches articulated by three hori- P.H. 0.285, Diam. of foot 0.203, Th. at ground zontal lines with accessory red between them, line 0.090 m. and part of its tail are preserved. Between the Twenty-six joining pieces from the lower forelegs and haunches are splashes of black glaze portion of the figure zone and the foot with representing an imitation inscription.
    [Show full text]
  • Corpus Vasorum Antiquorum Malibu 2 (Bareiss) (25) CVA 2
    CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 25 The J. Paul Getty Museum, Malibu, Fascicule 2 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined closed shape, and lids from neck-amphorae ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 2 . [U.S.A. FASCICULE 25] 1990 \\\ LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA (Revised for fasc. 2) Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23) Fasc. 1- by Andrew J. Clark. At head of title: Union académique internationale. Includes index. Contents: fasc. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes.—fasc. 2. Molly and Walter Bareiss Collection: Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined open shape, and lids from neck-amphorae 1. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . IL J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fasc. 23, etc. NK4640.C6U5 fasc. 23, etc. 738.3'82'o938o74 s 88-12781 [NK4624.B37] [738.3'82093807479493] ISBN 0-89236-134-4 (fasc.
    [Show full text]
  • Teaching Gallery Picturing Narrative: Greek Mythology in the Visual Arts
    list of Works c Painter andré racz (Greek, Attic, active c. 575–555 BC) (American, b. Romania, 1916–1994) after giovanni Jacopo caraglio Siana Cup, 560–550 BC Perseus Beheading Medusa, VIII, 1945 Teaching gallery fall 2014 3 5 1 1 (Italian, c. 1500/1505–1565) Terracotta, 5 /8 x 12 /8" engraving with aquatint, 7/25, 26 /8 x 18 /4" after rosso fiorentino gift of robert Brookings and charles University purchase, Kende Sale Fund, 1946 (Italian, 1494–1540) Parsons, 1904 Mercury, 16th century (after 1526) Marcantonio raimondi 1 Pen and ink wash on paper, 10 /8 x 8" ca Painter (Italian, c. 1480–c. 1530) gift of the Washington University (Greek, South Italian, Campanian) after raphael Department of art and archaeology, 1969 Bell Krater, mid-4th century BC (Italian, 1483–1520) 1 5 Terracotta, 17 /2 x 16 /8" Judgment of Paris, c. 1517–20 3 15 after gustave Moreau gift of robert Brookings and charles engraving, 11 /8 x 16 /16" Picturing narrative: greek (French, 1826–1898) Parsons, 1904 gift of J. lionberger Davis, 1966 Jeune fille de Thrace portant la tête d’Orphée (Thracian Girl Carrying the alan Davie school of orazio fontana Mythology in the visual arts Head of Orpheus), c. 1865 (Scottish, 1920–2014) (Italian, 1510–1571) 1 1 Oil on canvas, 39 /2 x 25 /2" Transformation of the Wooden Horse I, How Cadmus Killed the Serpent, c. 1540 7 5 University purchase, Parsons Fund, 1965 1960 Maiolica, 1 /8 x 10 /8" 1 1 Oil on canvas, 60 /8 x 72 /4" University purchase, elizabeth northrup after Marcantonio raimondi gift of Mr.
    [Show full text]
  • Bareiss Collection Attic Black-Figured Amphorae, Neck-Amphorae, Kraters, Stamnos, Hydriai, and Fragments of Undetermined Closed Shapes
    CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 23 The J. Paul Getty Museum, Malibu, Fascicule 1 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 1 • [U.S.A. FASCICULE 23] 1988 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fase. 23- ) Vol. i by Andrew J. Clark. At head of title : Union académique internationale. Includes index. Contents: v. i. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes. i. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . II. J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fase. 23, etc. NK4640.C6.U5 fase. 23, etc. 73 8.3'82*0938074 s 88-12781 [NK4Ó24.B3 7] [73 8.3 '82J093 8074019493] ISBN 0-89236-134-4 © 1988 The J. Paul Getty Museum, Malibu, California All rights reserved Library of Congress Cataloging-in-Publication
    [Show full text]
  • Cambridge University Press 978-1-107-16236-5 — the Frame in Classical Art Edited by Verity Platt , Michael Squire Index More Information
    Cambridge University Press 978-1-107-16236-5 — The Frame in Classical Art Edited by Verity Platt , Michael Squire Index More Information Index Achilles, 129–35, 144, 146–8, 176, anachronism, 39, 92, 95, 196–206, 213, 229, 429 280–1, 381, 458, 592 Adonis, 361–3 Anastasios, 552–5 Adorno, Theodor, 199n22 Anavyssos kouros (Kroisos), 287–9, 309n74 aediculae, 7, 23, 68–70, 243–4, 354, 375–8, 381, Anemurium, Church of the Holy Apostles, 479 571–5 Aelian, Tactica, 519–20 angels, 487–8, 494–6, 548–9 Aeschylus, 470 aniconism, 207n48, 285n30, 470–2, 485, 488, aesthetics, 4, 8–9, 38–59, 97, 118, 192–201, 497–9 278, 315, 485, 545 animals (as motifs), 13–14, 135, 194n14, deconstructionist, 41, 46–59, 595 see also 258–60, 264–5, 294–5, 399, 434, 518, Derrida, Jacques 580, 592 Kantian, 39–52 see also Kant, Immanuel: birds, 16, 108–12, 210, 212n69, 221–9, 235, Critique of Judgment 247, 519, 552, 579–80, 596 post-Enlightenment, 38–9, 41, 44, 48–59, lions, 18, 33, 77, 130, 194, 258, 367, 412–13, 97, 189–201, 271–4 see also 567 anachronism; art; galleries/museums in Roman wall-painting, 109, 112, 210, (modern); history of art, modern; 221–9, 238, 247 picture-galleries (pinacothecae) Antaeus, 143–4 Ajax, 129–35, 176, 458–9 Antenor, 310–13 Akragas, Temple of Zeus, 432 anthropomorphism, 27, 91–2, 285–7, 396–401 akroteria, 23, 411, 432–3 Antia Julia Polla (portrait statue), 339–46 Alabanda, Temple of Apollo, 433 Antioch, House of the Buffet Supper, 552–3 Alberti, Leon Battista, 23n44, 69, 99, 113, Aphrodite/Venus, 319, 322–3, 329, 333–4, 272n3, 593–4 349–50,
    [Show full text]
  • The Recovery of Helen
    THE RECOVERYOF HELEN JrT is my purposehere to examineaspects of the iconographyof the Recoveryof Helen on the night that Troy fell. The attempt seems the more worth while now that a canonical pattern of interpretation is likely to be established by Kunze's short but authoritative study and by the detailed, well-illustrated treatment in the recent book by Mme. Lilly B. Ghali-Kahil.1 The main episodes of the Recovery, established by the end of -the sixth century B.C., are credited to the Cyclic Epic poets Arktinos and Lesches, the lyricists Ibykos and his older contemporary Stesichoros. The first three alone are concerned with the iconography of the Recovery as it appears during the sixth and fifth centuries B.C.2 The earliest extant reference to an episode of the Recovery is found at Andro- mache 627-631, Euripides' play staged about 425 B.C.3 The old lord Peleus speaks, insulting Menelaos: EAXW&E Tpotav.. OvKOKKravEg EKT,E 7VcvKLyvvatKa XEtptav~'~ XacW,8AaBV, aAAX,g eTet&Eg pacrrov, EK/ctXOv ti'oo 4n I E8E!, IT/ O8OTlV atKaAXOVKva, 71rTOIV -7TE4VK&J KVmpt8og, d' KaaKUtrTE 01. When you took Troy, you failed to put your wife to death, though you had her in your power- on the contrary, when you looked at her breast, you threw away your sword and accepted her kiss, caressing the traitorous bitch, you miserable wretch, born slave to lust. E. Kunze, Archaische Schildbander (Olympische Forschungen, II, 1950), pp. 163-167; Lilly B. Ghali-Kahil, Les enlevements et le retour d'Helene, Paris, 1955, particularly pp.
    [Show full text]
  • The Fabric of the City: Imaging Textile Production in Classical Athens
    HESPERIA JJ (2OO8) THE FABRIC OF THE CITY Pages 283-334 Imaging Textile Production in Classical Athens ABSTRACT Scenes of textile production on Athenian vases are often interpreted as confirming the oppression of women, who many argue were confined to "women's quarters" and exploited as free labor. However, reexamination - of the iconography together with a reconsideration of gender roles and - the archaeology of Greek houses dating to the 5th and 4th centuries B.C. suggests that these images idealize female contributions to the household in a positive way. The scenes utilize the dual metaphor of weaving and marriage to express the hartnonia of oikos and polis, a theme particularly significant under the evolving Athenian democracy. The past 30 years have witnessed significant change in the study of ancient Athenian iconography.1Of particularimportance has been the increased attention given to so-called genre scenes or "scenes of everyday life" in Athenian vase painting, a response to the dominating focus of earlier scholarship on mythological subject matter. This trend began in the late 1970s, and escalated in the 1980s with a series of publications primarily by French authors, most notably the groundbreaking volume La cite des imagesin 1984 (translatedinto English in 1989). Severalscholars have ques- tioned the efficacy of the image and the apparentreality of genre iconog- raphy.2All too often, the tendency has been to treat scenes on Athenian vases as mere illustrations,but recent iconographic studies have assertedthe opposite:that images are constructionsin which each element is consciously or unconsciously chosen as part of a larger system of signs and symbols.
    [Show full text]
  • Oooooooooooo
    Cambridge University Press 978-0-521-12557-4 - Looking at Greek Art Mark D. Stansbury-O’Donnell Index More information oooooooooooo Index abstract, 22, 26, 30, 35, 36 assimilation, 215 acculturation, 202 Assyria, 204, 211 adaptation, 203 Athanodoras, Hagesandros, and Polydoros (artists), 45 adult, 191 Athens, 30, 33, 44, 68, 95, 104–106, 114, 118, 119, Africa and Africans, 199.Seealsoethnicity 132, 148, 181, 190, 202 agalma, 138, 140, 162 Acropolis, 138, 151 agency (theory), 149–154, 189–190 Agora, 40, 49, 134–136 agenda, 98, 106, 131–133 Erechtheion, 119–120, 124, 126 agent (agency term), 150, 151, 153–154, Kerameikos, 122, 138 189 Parthenon, 36–39, 70–72, 113, 121, 131, 157 agora (context), 100, 117, 134–136 attribute, 59, 62, 101, 150 aidos (modesty), 174, 179–181, 182 attribution, 24, 26–27, 29, 30, 50, 218 Aigina, Temple of Aphaia, 40–41 Alexandria (Egypt), 61, 63, 93, 161, 208 Barthes, R., 77, 79 Alkman, 60, 180, 181 Baxandall, M., 116 Amasis, 200–201 Beazley, J. D., 23, 26, 28, 29, 54 anakalypsis, 177, 186 behavior, 137, 155, 171–172, 174, 177, 179 analysis, iconographical, 59–70, 77 Bell, C., 155 anathema, 138 Berlin Painter, 23, 28, 29, 37, 50, 125 Andokides Painter, 30–33, 35 biography, artistic, 50–54 andron, 146, 185 Boardman, J., 104, 162 Antonaccio, C., 202 brand identity, 128 Antonymy, 89, 234 Brinkmann, V., 33 aparche (first-fruit), 138 bronze, 23, 112, 115 Appadurai, A., 164 Archelaos of Priene (artist), 60 Cantarella, E., 191 Aristotle, 173, 193 Carpenter, T., 214 Arsinoe¨ II, 208–209 catalyst, 79, 80 Arsinoe¨ III, 160 center-periphery, 202, 214 artist (agency term), 150–153, 189 ceramics, 112, 113 arts, decorative or minor, 48, 216 chronology, 5, 20, 30–36, 46, 47 arts, fine, 49, 216 absolute, 30, 34 assemblage, 97 relative, 30 assemblages, 202 color, 21–24, 33, 40 249 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-12557-4 - Looking at Greek Art Mark D.
    [Show full text]
  • VII Signatures, Attribution and the Size and Organisation of Workshops
    UvA-DARE (Digital Academic Repository) Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC) Stissi, V.V. Publication date 2002 Link to publication Citation for published version (APA): Stissi, V. V. (2002). Pottery to the people. The producttion, distribution and consumption of decorated pottery in the Greek world in the Archaic period (650-480 BC). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 VII Signatures, attribution and the size and organisation of workshops 123 VII.1 Signatures, cooperation and specialisation The signatures tell us something about more than only the personal backgrounds of potters and painters, individually or as a group.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Athenian little-master cups Heesen, P. Publication date 2009 Link to publication Citation for published version (APA): Heesen, P. (2009). Athenian little-master cups. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 2. XENOKLES, XENOKLES PAINTER, MULE PAINTER, PAINTER OF THE DEEPDENE CUP, POTTER AND PAINTER OF LONDON B 425 (nos. 50-92; pls. 13-27) Introduction Of the 41 cups and fragments with Xenokles’ epoiesen-signatures, 27 were known to J.D. Beazley, who assigned them to the potter Xenokles and recognized the hand of the so-called Xenokles Painter on most of them.254 Since then, another nine lip-cups and five band-cups can be added.255 Moreover, two unsigned lip-cups attributed to the Mule Painter can also be considered products of the potter Xenokles.
    [Show full text]