DOCSLIB.ORG

Questions for Art: a New History

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Questions for Art: a New History www.YoYoBrain.com - Accelerators for Memory and Learning Questions for Art: A New History Category: Default - (30 questions) Calculus: Functions that statisfy Laplace harmonic equationsare called ______ functions Calculus: Equation for line integral of curve Integral from a to b of f( x(t), y(t), z(t) ) x'(t) described by x=x(t), y=y(t), z=z(t) where dtorIntegral from a to b of f( x(t), y(t), z(t) ) integration is with respect to a coordinate y'(t) dtorIntegral from a to b of f( x(t), y(t), z(t) direction ) z'(t) dt Calculus: when the value of the line integral independent of path in D of a function depends only on the end-points of the curve for all curves in a region D, the line integral is said to be ______ Calculus: a function F described by F(x,y,z) = a differentiable function f exists withgrad f = M(x,y,z) i + N(x,y,z) j + P(x,y,z) k is called Fi.e. - F is integrable conservative in a region D in R^3 if _____ Calculus: a function F described by F(x,y,z) exact = M(x,y,z) i + N(x,y,z) j + P(x,y,z) k, with a differentiable function f exists with grad f = F. The differentiable form F(x,y,z) = M(x,y,z) i + N(x,y,z) j + P(x,y,z) kis said to be ___ in D. Calculus: a region D (either in plane or in every simple closed curve in D can be space) is simply connected if ______ shrunk to a point without leaving DCircle is simply connected, doughnut is not simply connected Calculus: Suppose F(x,y,z) = M(x,y,z) i + My = NxMz = PxNz = Py N(x,y,z) j + P(x,y,z) k where M,N,P have continuous partial derivatives in an open simply connected region D. Then F is conservative in D if and only if _____ Calculus: define positive versus negative positive orientation - if region to the left of the orientation for a simple closed curve curve is bounded as the curve is tracednegative orientation - if region to the right of the curve is bounded as the curve is traced Calculus: symbol Calculus: f is a scalar function and F vector f( div F) + (grad f) . F function, div(f F) = Calculus: f is a scalar function and F is a f( curl F ) + (grad f) X F vector functioncurl ( f F ) Calculus: F and G are vector functionsdiv (F (curl F) . G - F . ( curl G ) X G) = Calculus: if f is a scalar functiondiv ( grad f ) = Calculus: curl( F + G) = curl F + curl G Calculus: with constant ccurl ( c F ) c ( curl F ) Calculus: for curve C in a subset region D of one for which x', y', z' are continuous and not R^3 described parametrically x=x(t), y=y(t), all simultaneously zero z=z(t). Define a smooth curve Calculus: C is a smooth curve in region D If initial point (x(a), y(a), z(a) ) and terminal described parametrically by x=x(t), y=y(t), point (x(b), y(b), z(b)) coincide z=z(t).Define closed curve Calculus: Line integral of f over C with Integral of f( x(t), y(t), z(t) ) sqrt( [x'(t)]^2 + [ respect to arc length with parameters x=x(t), y'(t) ]^2 + [ z'(t) ]^2 ) dt y=y(t), z=z(t)Integral over C of f(x,y,z) dS = Calculus: Suppose C is a smooth curve in Integral from a to b of F(x,y,z) dr integral space and an object is moved along C by along the line force F. If F is continuous on a region containing C, the work done by F along C is _____ Calculus: when the path of integration satisfies Green's theorem we can denote the line integral as Calculus: Green's Theorem - relationship between a line integral and double integral.Suppose C is a positively oriented simple closed curve in the plane and R is the region bounded by C. If F(x,y) = M(x,y) i + N(x,y) j Art History: Etruscan earings (about 350 BC) in British Museum Art History: The Rape of Mlacuch by Hercules in British MuseumEtruscan, about 500-475 BCSaid to be from Atri, Abruzzi, Italy Art History: Bronze Oracle, Palestrina, from the third century B.C.National Museum in Rome Art History: Etruscan bronze Mars in Vatican Museum (420 BC) Art History: Etruscan sarcophagi - limestone Vatican 450 B.C. Art History: Tomb of the Leopards at Tarquinia in Lazio, ItalyEtruscan 550 to 450 BC Art History: Tomb of Hunting and Fishing in Tarquinia in Lazio, ItalyEtruscan 550 to 450 B.C. Art History: Etruscan bucchero style vase Art History: Roman Portland Vase - British Museum50 B.C.portrays Peleus and Thetis - parents of Achilles Category: Ancient Egypt - (8 questions) Art History: ziggurat of Ur (2112-2095 B.C.) Art History: head of Queen Nefertiti (Berlin) Art History: block statue of Huy, prefect of Memphis, Third Intermediate Period Art History: pyramids of Giza (2600-2500 B.C.) Art History: panther funerary bed in King Tutankhamen's tomb Art History: hippopotamus funerary bed in King Tutankhamen's tomb Art History: cow funerary bed in King Tutankhamen's tomb Art History: pharoah Mycerenus with goddess mentor and wife Category: Palace Art - (18 questions) Art History: Ishtar Gate (Berlin Museum) Art History: Stone panel from the North Palace of AshurbanipalNineveh, northern IraqNeo-Assyrian, about 645 BCHunting deer Art History: Colossal statue of a winged human-headed bull from theNorth-West Palace of Ashurnasirpal IINimrud (ancient Kalhu), northern IraqNeo-Assyrian, about 883-859 BC Art History: Stone panel from the North-West Palace ofAshurnasirpal II (Room B, no. 30)British History MuseumNimrud (ancient Kalhu), northern IraqNeo-Assyrian, 883-859 BCA protective spirit Art History: ziggurat at Aqar Quaf - largest surviving structure (continued being built until 6th century B.C. Art History: British MuseumColossal winged bull from the Palace of Sargon IIKhorsabad, northern IraqNeo-Assyrian, about 710-705 BC Art History: Stone relief from the throne room of Ashurnasirpal IINimrud (ancient Kalhu), northern IraqNeo-Assyrian, 870-860 BC Art History: tombs of Persian kings at Naqsh-i-Rustam, Iran Art History: Stone panel from the North-West Palace of Ashurnasirpal II(Court D, no. 7)Nimrud (ancient Kalhu), northern IraqNeo-Assyrian, 883-859 BCTribute-bearers present the king withmonkeys Art History: Behistun tomb inscription of Darius the Persian king Art History: Stone panel from the North-West Palace of Ashurnasirpal II (Room B, Panel 19)Nimrud (ancient Kalhu), northern IraqNeo-Assyrian, 883-859 BCA lion leaping at the King's chariot Art History: Persepolis (500 B.C.) Iran Art History: Persepolis (550B.C.) Iran Art History: mask of Agamemmon, Mycenae, 1550-1500 BC Art History: Treasury of Atreus at Mycenae Art History: Lion Gate at Mycenae Art History: Palace at Tyrns - Mycenaen site in Greece Art History: Warrior Vase found at Mycenae Category: Pre Historic - (11 questions) Art History: the first period of art in European Magdalenian art history Art History: bison in cave, Altamira, Spain Art History: mammoth in Bernifal in the Dondogne (Magdalenian art) Art History: woolly rhinoceros at Font-de-Gaume Art History: bull at Lascaux cave Art History: Axial Gallery at Lascaux cave Art History: horse from Lascaux caves Art History: when did the age of about 10,000 B.C. Magdalenian cave art end Art History: megalith at Carnac in Brittany Art History: megalith at Plouarzel in Brittany - over 30 ft hight Art History: megalith at Avebury, England Category: Roman - (1 questions) Art History: Roman ruins in Baalbeck, Lebanon Category: Greek Art - (68 questions) Art History: Phoenician scent-bottle, alabaster, Madrid's Archeological Museum Art History: Doric temple at Paestum south of Naples (600-480 B.C.) Phoenician - 7th century B.C. Louvre silver-gilt bowel Art History: Greek temple in Agrigento Sicily Art History: ekkesiasterion - Metapontum (Greek debating chamber) Art History: Greek Doric temple at Segesta Sicily. Art History: temple to Poseidon, 440 B.C. Sunium at south apex of Attica Art History: metopes from Olympia temple of Zeus, Louvre Art History: Oracle of Delphi, Greece Art History: Central scene of the east frieze of the ParthenonThe Acropolis, Athens, Greece, about 438-432 BCThe sacred robe of Athena held up by cult officials, and Athena and Hephaistos Art History: Young cow and herdsmen from the south frieze of theParthenonThe Acropolis, Athens, Greece, about 438-432BCScene from a procession of sacrificial victims Art History: Chariot group from the south frieze of the ParthenonGreek, carved about 438-432 BCFrom Athens, Greece Art History: Horsemen from the west frieze of the ParthenonGreek, about 438-432 BCAcropolis, Athens, Greece Art History: Horsemen from the west frieze of the ParthenonBritish Museum - Greek, about 438-432 BCAcropolis, Athens, Greece Art History: Greek ivory carving from Cyclades, Athens Archaeological Museum Art History: Greek carving Cyclades in Athens Archaeological Museum Art History: Greek bear vase, (2800-2300 B.C.) from Cyclades in Athens Archaeological Museum Art History: Greek (2700-2300 B.C.) from Cyclades in Louvre Art History: gold cup from Vaphio, (1500 B.C.) in Athens Art History: La Dame d'Auxerre, Louvre (7th century B.C.) Art History: Perseus Slitting the Throat of Medusa, 530 B.C. metope in Palermo Museum Art History: The Strangford ApolloBritish MuseumGreek, about 500-490BCSaid to be from the island of Anáfi,Cyclades, Aegean SeaMarble statue of a youth standing in theconventional pose of akouros Art History: Cleobis and Biton, from Apollo Sanctuary in Delphi, Delphi Museum, (580 B.C.)sculptor, Polymedes Art History: story of Cleobis and Biton In the legend, Kleobis and Biton were Argives, the sons of Cydippe, a priestess of Hera.
Load more

Recommended publications
  • Handout 2008 for Dialogue 20
    Dialogue 20 The hero as mirror of men’s and women’s experiences. Key word: telos ‘coming full circle, rounding out, fulfillment, completion, ending, end; successfully passing through an ordeal; ritual, rite’. To be linked with another key word, athlos (aethlos) ‘contest, ordeal; competition’; derivative word: athlētēs ‘athlete’; related concepts are agōn ‘contest, ordeal; competition’ and ponos ‘pain’ [sharp, shooting pain] and kamatos ‘pain’ [dull, aching pain]. Note the beginning of the Hippolytus. At line 32, there is a reference to a sacred space in Athens where Aphroditē epi hippolutōi ‘Our Lady of Horses Unbridled’ is worshipped; this name contains the imagery of chariot-driving. Experiences that are ingredients for coming of age, initiation, rite of passage men’s experiences: song and dance, marriage; athletics; hunting, war women’s experiences: song and dance, marriage; athletics [mostly running]; menstruation, childbirth The underlinings indicate asymmetry from a modern point of view but symmetry from an ancient point of view. A) Euripides Hippolytus 73-87: For you, goddess, I bring this woven garland, culled from a virgin meadow, where it is not fit for the shepherd to pasture his flocks, nor has iron yet come there, but unspoiled still in springtime the bees fly through this meadow. Aidōs tends it with pure river water, and those who by their nature always use moderation [sōphrosunē] in all things, instead of having learned it, they can pick flowers, but it is not lawful [themis] for the kakos. Philē mistress, for your golden locks accept this headband from my reverent hand. I alone among mortals have this privilege: I keep company with you and make conversation, hearing your voice although not seeing your face.
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-0-521-52929-7 - The Cambridge Companion to Archaic Greece Edited by H. A. Shapiro Index More information Index S Abdera, 43 agora, 46–48, 147, 204, 212, 213 Abydos, 208 Agylla/Caere, 226 Achaeans/Achaians, 48, 50, 51, 52, 57, Aiakos, 234 74, 112, 113, 118, 120, 123, 202, 207 Aigai, 51 Achaia, 49, 51, 56, 57 Aigeira, 51 Achilles, 103, 111, 112, 113, 114, 118, 119, Aigialeis, 56 120, 121, 122, 126, 268–269, 278 Aigila, 79 Acropolis. See Athens Aigimios. See Dorians Adrastus, 153 Aigina, 77 Aeaces I, tyrant of Samos, 34 Aineias Taktikos, 70 Aeaces II, son of Syloson, 34 Aischines, 50 Aeacids, 32, 34 Aisymnetes, 34 Aeantides, son of Hippocles, 30 Aitnissai. See Aeschylus Aelian, 166 Aitolia, 49, 50, 52 Aeneas, 66 Aitolians, 49, 50, 51 Aeolians, 23 Ajax, 120, 123, 268–269, 278 Aeolic dialect, 113 Akarnania, 49, 50 Aeolus, 216 Akragas, 207, 218, 220 Aeschines/Aiskhines, tyrant of Sicyon, Akrai, 207, 216 24, 243, 244 Al Mina, 203 Aeschylus, 242 Alcaeus/Alkaios of Mytilene, 16–17, 32, Aitnissai, 220 47, 67, 141, 142, 143, 147, 149–150 , Eumenides, 132 152 , 158 , 159 , 160, 162 Aethiopis. See Epic Cycle Alcidamas, poet. See Aetnans, 237 Alcinous, 113, 127 Africa, 207, 210, 211 Alcman of Sparta, 6, 94–95, 147 agalmata, 241 Alcmeonids/Alkmaionids, 29, 30, 31 , 33, Agamemnon, 48, 114, 119, 122–123, 247–251 125–126, 242 Alcock, Susan E., 77 Agariste, daughter of Cleisthenes, 22 Alexander the Great, 3, 6, 222 Agasicles of Halicarnassus, 232, 242, 248 Alexandros. See Paris Agasicles, tyrant of Halicarnassus, 232 Alkmaion, 233 agathoi, 48 Alkmaionides, 233–235, 237, 239, 247 agelai, 90–92, 97 Amaltheia, 236 agoge, 90 Amasis, pharaoh, 247 agonal warfare, 76–77 Ampheia, 77, 78 287 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-52929-7 - The Cambridge Companion to Archaic Greece Edited by H.
    [Show full text]
  • On April 20Th, Dr. Anja Slaw
    “How fast does a city recover from destruction? A new view of the creation of the Severe Style” On April 20th, Dr. Anja Slawisch, a research fellow at University of Cambridge, presented her careful reconsideration of the transition from Archaic period to Classical period in art, especially in sculpture. I will first give some historical background and conventional understanding of this transition, and then elaborate on her argument. Conventionally, the sack of Athens during the Persian War in 480 BCE spurred the artistic development from austere Archaic style (see statues of Kleobis and Biton below1) to the Severe Style (see Harmodius and Aristogeiton, the tyrannicides2), and hence marks the transition from Archaic period into Classical period in art. The most important feature that sets severe style apart from the Archaic is a more naturalistic depiction of the human anatomy. For statues of the tyrannicides, the human bodies were made as an organic system - their pelves shift according to their stances, as opposed to the awkward posture of Kleobis and Biton. In this widely-accepted narrative, the destruction of Athens, heavily influencing the psyche of Athenians, stimulated these stark changes and inventions in artistic style. As a consequence, 480 BCE became a reference point for archaeologists in dating these statues according to their features. Statues of Kleobis and Biton Harmodius and Aristogeiton 1 Statues of Kleobis and Biton (identified by inscriptions on the base) dedicated to Delphi by the city of Argos, signed by ​ [Poly?]medes of Argos. Marble, ca. 580 BC. H. 1.97 m (6 ft. 5 ½ in.), after restoration.
    [Show full text]
  • The Origins of the Kouros
    THE ORIGINS OF THE KOUROS By REBECCA ANN DUNHAM A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Rebecca Ann Dunham This document is dedicated to my mom. TABLE OF CONTENTS page LIST OF FIGURES ........................................................................................................... vi ABSTRACT.........................................................................................................................x CHAPTER 1 DEFINITION OF THE KOUROS TYPE ....................................................................1 Pose...............................................................................................................................2 Size and material...........................................................................................................2 Nudity ...........................................................................................................................3 Body Shape and Treatment of Musculature .................................................................3 Execution ......................................................................................................................4 Function ........................................................................................................................5 Provenances ..................................................................................................................7
    [Show full text]
  • Epigraphic Bulletin for Greek Religion 2009 (EBGR 2009)
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 25 | 2012 Varia Epigraphic Bulletin for Greek Religion 2009 (EBGR 2009) Angelos Chaniotis Electronic version URL: http://journals.openedition.org/kernos/2117 DOI: 10.4000/kernos.2117 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 26 October 2012 Number of pages: 185-232 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, « Epigraphic Bulletin for Greek Religion 2009 », Kernos [Online], 25 | 2012, Online since 20 November 2014, connection on 15 September 2020. URL : http://journals.openedition.org/ kernos/2117 Kernos Kernos 25(2012),p.185-232. Epigraphic Bulletin for Greek Religion 2009 (EBGR 2009) The 22nd issue of the Epigraphic Bulletin for Greek Religion presents a selection of the epigraphicpublicationsof2009andsomeadditionstoearlierissues.Followingthepractice ofthemostrecentissues,emphasiswasplacedonthepresentationofnew corporaand editions of new texts, rather than on summarizing books or articles that use epigraphic material.Duetodemandingresearchandadministrativeduties,thisyearIhavebeenunable tocompletethesurveyofjournalsontime.Inordertoavoiddelaysinthepublicationof Kernos , I could only present part of 2009’s publications. This issue contains several very interestingnewepigraphicfinds.Iwouldliketohighlightthenewfragmentsthathavebeen addedtothephilosophicalinscriptionofDiogenesofOinoanda( 65 ).Theymakepossible thereconstructionofalargepassage,inwhichtheEpicureanphilosopherrejectstheidea
    [Show full text]
  • Jména Řecké a Římské Mythologie V Nomenklatuře Netopýrů, S Poznámkou Ke Jménu Myotis Alcathoe
    Vespertilio 12: 107–128, 2008 ISSN 1213-6123 Jména řecké a římské mythologie v nomenklatuře netopýrů, s poznámkou ke jménu Myotis alcathoe Petr be n d a zoologické oddělení PM, Národní museum, Václavské nám. 68, CZ–115 79 Praha 1, Česko & katedra zoologie, PřF University Karlovy, Viničná 7, CZ–128 44 Praha 2, Česko; [email protected] Names from Greek and Roman mythology in bat nomenclature, with a note on the name Myotis alcathoe. In bat nomenclature, at least sixty names used in 115 taxa which correspond with the names from ancient mythology or history were created by 50 authors. Most of these names were created in the first quarter of the 20th century (44), in the era of Oldfield Thomas (author of 24 of these names), Knud Andersen (12) and Gerrit Smith Miller (6). Until now 62 of the bat names taken from antiquity remain valid as genus or species names. Most recently, a name of this type was created by Otto von Helversen and Klaus-Gerhard Heller in 2001 for Myotis alcathoe. According to the authors of description, Alcathoe (also Alcithoe or Alcythoe) – from Greek Άλκαθόη and Άλκιθόη – was a nymph and the vernacular name ‘nymph bat’ was suggested for this species. However, this name was found to be related to a name of mythical princess, a daughter of the king Minyas of Orchomenos in Greece. None of the old traditions showed her to be a nymph. Because the princess refused, along with her sisters, to honour the god Dionysos (Bakchus) and she did her usual housework, the god turned her into a bat and her sisters also into bats or, according to other ancient traditions, into birds (owl, eagle owl, crow).
    [Show full text]
  • Focus on Greek Sculpture
    Focus on Greek Sculpture Notes for teachers Greek sculpture at the Ashmolean • The classical world was full of large high quality statues of bronze and marble that honoured gods, heroes, rulers, military leaders and ordinary people. The Ashmolean’s cast collection, one of the best- preserved collections of casts of Greek and Roman sculpture in the UK, contains some 900 plaster casts of statues, reliefs and architectural sculptures. It is particularly strong in classical sculpture but also includes important Hellenistic and Roman material. Cast collections provided exemplary models for students in art academies to learn to draw and were used for teaching classical archaeology. • Many of the historical casts, some dating back to the eighteenth and nineteenth centuries, are in better condition than the acid rain-damaged originals from which they were moulded. They are exact plaster replicas made, with piece moulds that leave distinctive seams on the surface of the cast. • The thematic arrangement of the Cast Gallery presents the contexts in which statues were used in antiquity; sanctuaries, tombs and public spaces. Other galleries containing Greek sculpture, casts and ancient Greek objects Gallery 14: Cast Gallery Gallery 21: Greek and Roman Sculpture Gallery 16: The Greek World Gallery 7: Money Gallery 2: Crossing Cultures Gallery 14: Cast Gallery 1. Cast of early Greek kouros, Delphi, Greece, 2. Cast of ‘Peplos kore’, from Athenian Acropolis, c570BC c530BC The stocky, heavily muscled naked figure stands The young woman held an offering in her in the schematic ‘walking’ pose copied from outstretched left hand (missing) and wears an Egypt by early Greek sculptors, signifying motion unusual combination of clothes: a thin under- and life.
    [Show full text]
  • How to Write History: Thucydides and Herodotus in the Ancient Rhetorical Tradition
    How to write history: Thucydides and Herodotus in the ancient rhetorical tradition A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Scott Kennedy, B.A., B.S. Graduate Program in Greek and Latin The Ohio State University 2018 Dissertation Committee: Anthony Kaldellis, Adviser Benjamin Acosta-Hughes Will Batstone Copyright by Scott Kennedy 2018 Abstract Modern students of Thucydides and Herodotus may find it odd to think of them as rhetoricians. Yet in the ancient world, both historians (and especially Thucydides) played an important role in rhetorical schools. They were among the favorite authors of ancient teachers of rhetoric and served as foundational pillars of the ancient curriculum, providing themes for school exercises and even for such seminal texts as Hermogenes' theoretical treatises on rhetoric. Modern scholars might never read technical rhetorical texts such as Hermogenes. They almost certainly would never turn to Hermogenes and his kind to help them understand Thucydides or Herodotus. But for our ancient intellectual predecessors, such an approach would have been unconscionable, as ancient rhetoric was the theoretical lens with which they understood and appreciated historical writings. In this dissertation, I explore the confluence of rhetoric and historiography in the ancient world through an examination of how Herodotus and Thucydides were used in ancient schools and then by later historians. Chapter 1 and 2 outline how these historians were embedded and encoded within the rhetorical curriculum. In Chapter 1, I examine how Herodotus and Thucydides entered the rhetorical curriculum and how rhetors incorporated them into the rhetorical curriculum through an examination of the surviving progymnasmata, scholia, and pedagogical myths.
    [Show full text]
  • 2019 Meskanen Eeva Leena Helena 0740810 Ethesis
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Questioning militarism in Spartan religion analysis of dedications from four Spartan sanctuaries Meskanen, Helena Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 06. Oct. 2021 Questioning Militarism in Spartan Religion: Analysis of Dedications from Four Spartan Sanctuaries Eeva Leena Helena Meskanen For the degree of Doctor of Philosophy King’s College London 2019 ABSTRACT ................................................................................................................................................................
    [Show full text]
  • A Poros Kouros from Isthmia
    A POROS KOUROS FROM ISTHMIA (PLATE 91) pT^HE fragmentarystatue which forms the subject of this note was found at Isthmia on October 24, 1959 by members of the University of Chicago digging at the site under the auspices of the American School of Classical Studies and the direction of Professor Oscar Broneer. The piece was found at a depth of 18.70 m. in the Large Circular Pit which lies to the west of the Palaimonion and south of the Temple precinct. This large shaft, probably an unfinished well, con- tained fill from the first half of the fifth century B.C. and earlier, including a few blocks and roof-tile fragments from the earliest Temple of Poseidon. The kouros has not yet been published and I am greatly indebted to Professor Broneer who has given me permission to describe and illustrate it here. The piece preserves the lower part of a male figure from below the waist to the, right knee. The left leg is broken at a much higher level across the thigh, probably at the point where the sculptor had begun to separate the two limbs. In addition, the entire front part of the statue is missing, having split clean with one of those flaking breaks typical of soft limestone, which appear almost like intentional cutting. Only the rear part of the kouros can therefore be studied for chronological and stylistic clues. Its dimensions make it slightly smaller than life size.' The material of the piece is a soft, whitish poros apparently free of impurities, which here takes an almost satiny finish.
    [Show full text]
  • 9781107028111 Index.Pdf
    Cambridge University Press 978-1-107-02811-1 - The Textualization of the Greek Alphabet Roger D. Woodard with a Chapter by David A. Scott Index More information Index Abaza, 324 Alexandria, 4 , 186 , 203 , 211 , 331 abeced ā rius , 221 alpha , 2 , 3 , 1 5 , 1 6 , 1 7 , 1 8 , 1 9 , 2 0 , 2 1 , 2 2 , 2 3 , 2 4 , Abou Simbel, 18 2 5 , 2 8 , 3 6 , 4 0 , 4 2 , 7 0 , 7 4 , 1 3 5 , 1 3 7 , 1 3 8 , 1 4 0 , Achaia, 29 , 73 , 250 , 303 144 , 163 , 166 , 171 , 224 , 235 , 247 , 250 , 251 , Achilles, 107 , 186 , 192 , 213 , 334 286 , 292 , 293 , 294 , 316 acrophonic principle, 157 , 160 alphabetic anomalies, 119 , 120 , 127 , 128 , 129 , a d a p t a t i o n , 5 1 , 6 3 , 6 4 , 6 5 , 6 6 , 1 4 6 , 1 5 1 , 1 5 2 , 1 5 3 , 1 3 1 , 1 3 3 , 1 3 5 , 1 3 7 , 1 7 8 , 2 6 2 , 3 3 9 156 , 157 , 158 , 159 , 160 , 163 , 168 , 173 , 254 , alphabetic fabric, 235 , 238 , 253 , 287 258 , 259 , 263 , 303 , 327 alphabetic weaving, 3 , 4 , 223 , 234 , 235 , 237 , A d m e t e , 1 9 8 238 , 243 , 244 , 245 , 247 , 249 , 252 , 253 , 256 , Aegina, 211 259 , 263 , 264 , 265 , 272 , 288 Aelian, 196 Althaea, 280 Aeneas Tacticus, 186 ambiguity, 59 , 65 , 66 , 96 , 147 , 149 , 150 , 186 , Aeschylus, 185 , 213 , 274 , 281 , 329 , 341 187 , 316 Aethlius, 202 Ammon, 214 , 215 , 216 agalma , 93 , 199 , 200 , 203 , 204 , 205 , 213 , 223 , Ammonites, 246 224 , 329 , 339 Amorgos, 28 , 29 , 33 , 39 , 80 , 85 , 102 , 207 , Agamemnon, 183 , 273 , 332 , 341 2 9 4 , 2 9 7 agnos , 195 , 196 , 197 , 202 , 219 , 220 Amphidromia, 186 agnus castus .
    [Show full text]
  • Greek Mythology / Apollodorus; Translated by Robin Hard
    Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard.
    [Show full text]