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Chapter 6 -- the Rise of Ancient Greece
Chapter Preview This chapter will examine the rise of Ancient Greece and the development of democracy, philosophy, and the arts during the Golden Age of Athens. Section I The Rise of Greek Civilization Sectiom 2 Religion, Philosophy, and the Arts Target Reading Skill Sequence ln this chaptel you will focus on using sequencing to help you understand how events are related to one another. Sequencing helps you see the order in which events happened and can help you understand and remember them. ) The ruins of the Temple of Poseidon in Greece 166 History of Our World W 'athon I Ephr I I l I i Crete i 0 miles 0 kilometers Lambert -Location Notice.the land of the ancient Greeks: the mainland and- the islands in the Aegean and Mediterranean Seas. The ancient Greeks ' *-Describealso built colonies on the coast of Asia Minori or modern-day Turkey. How would you describe the lands of the ancient Greeks? rGo q&nline L---+HSehool.com Use Web Code Study map some guesses * Draw Conclusions the to make about how mup-0601 for step-by-step '-.the people of ancient Greece earned a living. What role did the sea map skills practice. *iirobably have in their lives? Why do you think some Greeks left , ancient Greece to build cities elsewhere? Ch2'- Read Objectives Target epic (ee ik) n. a long poem ln this section you will Reading Skill that tells a story 1. Understand how Greece's geographic ldentify Sequence acropolis (uh rnan puh lis) setting influenced the development of Noting the order in which n. -
The Terracotta Figurines of Amisos. 14 I
The Terracotta figurines of Amisos School of Humanities MA in Black Sea Cultural Studies The Terracotta Figurines of Amisos . Name: Eleni Mentesidou Student ID: 221100015 Name of Supervisor: Pr. Styliani Drougou Submission Date: 18 November 2011 0 The Terracotta figurines of Amisos Abstract. The subject of the present dissertation is the terracotta figurines of Amisos’ workshop which is in its most productive period during Mithridates Eupator kingship. The study has been focused on the figurines in relation with the economic, political and religious life of Amisos. Aim of our research was to find out in what extent the city’s economy and culture as the political circumstances, during the period of its activity, affected the production of the amisian terracotta workshop. Before dealing with the main subject has been considered necessary an introduction concerning the location, the geography, the foundation and the history of Amisos in order to be understood the general historical and cultural context that effected the evolvement and the activity of the terracotta workshop. Moreover, the following analysis of Amisos’ economy as the description of the occupations and the products of the amisians demonstrate on the one hand that the production and the exportation of the terracotta figurines were part of Amisos’ economy and on the other hand that the coroplasts of the amisian workshop represent through the selection of their subjects the city’s economical life. The forth chapter deals with the figurines as products of the amisian workshop. However, the lack of scientific treatment coupled with the fact that the figurines are partly preserved and have been diffused all over the world, impedes their study. -
Poison King: the Life and Legend of Mithradates the Great, Rome's
Copyrighted Material Kill em All, and Let the Gods Sort em Out IN SPRING of 88 BC, in dozens of cities across Anatolia (Asia Minor, modern Turkey), sworn enemies of Rome joined a secret plot. On an appointed day in one month’s time, they vowed to kill every Roman man, woman, and child in their territories. e conspiracy was masterminded by King Mithradates the Great, who communicated secretly with numerous local leaders in Rome’s new Province of Asia. (“Asia” at this time referred to lands from the eastern Aegean to India; Rome’s Province of Asia encompassed western Turkey.) How Mithradates kept the plot secret remains one of the great intelli- gence mysteries of antiquity. e conspirators promised to round up and slay all the Romans and Italians living in their towns, including women and children and slaves of Italian descent. ey agreed to confiscate the Romans’ property and throw the bodies out to the dogs and crows. Any- one who tried to warn or protect Romans or bury their bodies was to be harshly punished. Slaves who spoke languages other than Latin would be spared, and those who joined in the killing of their masters would be rewarded. People who murdered Roman moneylenders would have their debts canceled. Bounties were offered to informers and killers of Romans in hiding.1 e deadly plot worked perfectly. According to several ancient histo- rians, at least 80,000—perhaps as many as 150,000—Roman and Italian residents of Anatolia and Aegean islands were massacred on that day. e figures are shocking—perhaps exaggerated—but not unrealistic. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Toronto! Welcome to the 118Th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies
TORONTO, ONTARIO JANUARY 5–8, 2017 Welcome to Toronto! Welcome to the 118th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies. This year we return to Toronto, one of North America’s most vibrant and cosmopolitan cities. Our sessions will take place at the Sheraton Centre Toronto Hotel in the heart of the city, near its famed museums and other cultural organizations. Close by, you will find numerous restaurants representing the diverse cuisines of the citizens of this great metropolis. We are delighted to take this opportunity of celebrating the cultural heritage of Canada. The academic program is rich in sessions that explore advances in archaeology in Europe, the Table of Contents Mediterranean, Western Asia, and beyond. Among the highlights are thematic sessions and workshops on archaeological method and theory, museology, and also professional career General Information .........3 challenges. I thank Ellen Perry, Chair, and all the members of the Program for the Annual Meeting Program-at-a-Glance .....4-7 Committee for putting together such an excellent program. I also want to commend and thank our friends in Toronto who have worked so hard to make this meeting a success, including Vice Present Exhibitors .......................8-9 Margaret Morden, Professor Michael Chazan, Professor Catherine Sutton, and Ms. Adele Keyes. Thursday, January 5 The Opening Night Public Lecture will be delivered by Dr. James P. Delgado, one of the world’s Day-at-a-Glance ..........10 most distinguished maritime archaeologists. Among other important responsibilities, Dr. Delgado was Executive Director of the Vancouver Maritime Museum, Canada, for 15 years. -
Acts 19:23–41—Temple of Artemis
Supplement to Introducing the New Testament, 2nd ed. © 2018 by Mark Allan Powell. All rights reserved. 17.8 Acts 19:23–41—Temple of Artemis The temple of Artemis sat on a platform 400 feet long and 240 feet wide. The building itself was larger than a modern football field: 360 feet long and 180 feet wide. It had more than 120 columns, each of which was over 55 feet tall and gilded with gold and silver. A peaked roof rested atop the columns. The temple that existed in New Testament times was actually the third one on that site. It had been constructed in the late fourth century BCE, the work having begun in 323. Literary sources describe the temple as being richly adorned with paintings and sculptures by some of the most renowned artists of antiquity. In the second century BCE, Antipater of Sidon compiled a list of the seven wonders of the world, including the Temple of Artemis among them. He offers this comment: I have set eyes on the wall of lofty Babylon on which is a road for chariots, and the statue of Zeus by the Alpheus, and the hanging gardens, and the colossus of the Sun, and the huge labor of the high pyramids, and the vast tomb of Mausolus; but when I saw the house of Artemis that mounted to the clouds, those other marvels lost their brilliancy, and I said, “Lo, apart from Olympus, the Sun never looked on aught so grand.” (Greek Anthology 9.58) Supplement to Introducing the New Testament, 2nd ed. -
Lauri B. Reitzammer Associate Professor Department of Classics
Lauri B. Reitzammer Associate Professor Department of Classics University of Colorado at Boulder, UCB 248 Boulder, CO 80309-0248 303-492-6570; [email protected] EDUCATION: University of California, Berkeley, Ph.D. Classics 2006 American School of Classical Studies at Athens, Associate Member 2003-2004 University of California, Berkeley, M.A. Greek 2001 UCLA, Post-Baccalaureate, Classics 1997-1999 Brown University, B.A. Comparative Literature (French & English), magna cum laude 1995 EMPLOYMENT: Associate Professor of Classics, University of Colorado, Boulder 2016- Assistant Professor of Classics, University of Colorado, Boulder 2008-16 Postdoctoral Fellow, Introduction to the Humanities, Stanford University 2007-08 Full-Time Lecturer, Temple University 2006-07 TEACHING AND RESEARCH INTERESTS: • Greek Literature and Cultural History • Gender and Sexuality • Greek Religion BOOK: • The Athenian Adonia in Context: The Adonis Festival as Cultural Practice (May 2016, Wisconsin University Press, 261 pages, 23 illustrations) o Reviews o S. Deacy, Journal of Hellenic Studies, November 7, 2017 o J. McInerney, Bryn Mawr Classical Review, May 30, 2017 o J. Larson, Journal of Folklore Research, January 11, 2017 PEER-REVIEWED JOURNAL ARTICLES: • “Sightseeing at Colonus: Oedipus, Ismene, and Antigone as Theôroi in Oedipus at Colonus,” Classical Antiquity 37.1: 108-50 (2018) • “Aristophanes' Adôniazousai,” Classical Antiquity 27.2:282-333 (2008) • “A Hellenistic Terracotta and the Gardens of Adonis” (co-authored with John Oakley), Journal of Hellenic Studies 125: 142-44 (2005) INVITED PUBLICATIONS: • “Oedipus’ Lament: Waking and Refashioning the Traumatic Past in Sophocles’ Oedipus at Colonus” (in press, in Emotional Trauma in Greece and Rome: Representations and Reactions, A. Karanika and L. -
Dinner in Utopia: Why Did Plato Propose “Amazing and Frightening” Meals in Common?
Dinner in Utopia: Why did Plato Propose “Amazing and Frightening” Meals in Common? Michael Jackson & Damian Grace UNIVERSITY OF SYDNEY Citation: Jackson & Grace, “Dinner in Utopia: Why did Plato Propose ‘Amazing and Frightening’ Meals in Common?”, Spaces of Utopia: An Electronic Journal, 2nd series, no. 3, 2014, pp. 9-26 <http://ler.letras.up.pt > ISSN 1646-4729. “Let one open any book of history, from Herodotus to our own day, and he will see that, without even excepting conspiracies, not a single great event has occurred which has not been conceived, prepared, and carried out at a feast,” so said Jean Anthelme Brillat-Savarin in the Philosopher in the Kitchen (1981[1825]: 54). Scholars of course know the faculty club and the conference dinner, where many events have been planned. While Plato consistently recommended common meals, syssitia (literally “eating together”), and Aristotle accepted this one feature of Plato’s political program, their recommendations of these public meals as political practices have been treated in a perfunctory manner, limited to military purposes (e.g., Finer 1997: 338 and de Mesquita et al., 2004: 174). In later utopian theory and practice, Thomas More, Tomasso Campanella and William Morris, among other utopian theorists, incorporated such meals, as have utopian communities from Oenida to the Kibbutzim, all to little comment. Insofar as the seed for the practice is found in Plato, a close study of his recommendation of common meals enhances our understanding of what such meals can offer. Why in The Laws (780a-d) did Plato recommend meals in common and why did he say that they were “amazing” and “frightening,” and perhaps not to be mentioned?1 To better understand Plato’s approach to syssitia this essay summarizes common meals in the context of classical Greece, examines Plato’s discussion of political dining, emphasizes the role of women in common meals in Plato’s political theory, considers the role of these meals in the second-best ideal commonwealth of the Laws, and draws several conclusions. -
Artemis: Depictions of Form and Femininity in Sculpture Laura G
Student Publications Student Scholarship Fall 2017 Artemis: Depictions of Form and Femininity in Sculpture Laura G. Waters Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Sculpture Commons Share feedback about the accessibility of this item. Waters, Laura G., "Artemis: Depictions of Form and Femininity in Sculpture" (2017). Student Publications. 658. https://cupola.gettysburg.edu/student_scholarship/658 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Artemis: Depictions of Form and Femininity in Sculpture Abstract Grecian sculpture has been the subject of investigation for centuries. More recently, however, emphasis in the field of Art History on the politics of gender and sexuality portrayal have opened new avenues for investigation of those old statues. In depicting gender, Ancient Greek statuary can veer towards the non- binary, with the most striking examples being works depicting Hermaphroditos and ‘his’ bodily form. Yet even within the binary, there are complications. Depictions of the goddess Artemis are chief among these complications of the binary, with even more contradiction, subtext, and varied interpretation than representations of Amazons. The umen rous ways Artemis has been portrayed over the years highlight her multifarious aspects, but often paint a contradictory portrait of her femininity. Is she the wild mother? The asexual huntress? Or is she a tempting virgin, whose purity is at risk? Depictions of her in sculptural form, deliberately composed, offer answers. -
Devising Descent Mime, Katabasis and Ritual in Theocritus' Idyll 15 Hans Jorgen Hansen a Thesis Submitted to the Faculty of Th
Devising Descent Mime, Katabasis and Ritual in Theocritus’ Idyll 15 Hans Jorgen Hansen A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2010 Approved by: Dr. William H. Race Dr. Owen Goslin Dr. Werner Riess Abstract Hans Jorgen Hansen: Devising Descent: Mime, Katabasis and Ritual in Theocritus’ Idyll 15 (Under the direction of Dr. William H. Race) In this thesis I investigate the genres and structure of Theocritus’ fifteenth Idyll, as well as its katabatic and ritual themes. Though often considered an urban mime, only the first 43 lines exhibit the formal qualities of mime found in Herodas’ Mimiambi, the only other surviving corpus of Hellenistic mime. The counterpoint to the mimic first section is the Adonia that makes up the last section of the poem and amounts to an urban recasting of pastoral poetry. A polyphonic, katabatic journey bridges the mimic and pastoral sections and is composed of four encounters that correspond to ordeals found in ritual katabases. The structure of the poem is then tripartite, beginning in the profane world of the household mime, progressing through the liminal space of the streets and ending in the sacred world of the Adonia. This progression mirrors Theocritus’ evolution from Syracusan mimic poet to Alexandrian pastoral poet. ii Table of Contents Introduction 1 Chapter 1: Mime and Structure in the Adoniazusae 6 1.1: Introduction 6 1.2.1: The Formal Features of Herodas’ Poetry 12 1.2.2: Homophony and Herodas’ Fourth Mimiamb 21 1.3.1: Theocritus’ Household-Mime 26 1.3.2: The Streets of Alexandria and Theocritus’ Polyphonic Mime 32 1.4: Conclusion 41 Chapter 2: Katabasis and Ritual in the Adoniazusae 44 2.1: Introduction 44 2.2: The Katabatic Structure, Characters and Imagery of Theoc. -
Studia Varia from the J
OCCASIONAL PAPERS ON ANTIQUITIES, 10 Studia Varia from the J. Paul Getty Museum Volume 2 LOS ANGELES, CALIFORNIA 2001 © 2001 The J. Paul Getty Trust Getty Publications 1200 Getty Center Drive Suite 500 Los Angeles, California 90049-1682 www. getty. edu Christopher Hudson, Publisher Mark Greenberg, Editor in Chief Project staff: Editors: Marion True, Curator of Antiquities, and Mary Louise Hart, Assistant Curator of Antiquities Manuscript Editor: Bénédicte Gilman Production Coordinator: Elizabeth Chapin Kahn Design Coordinator: Kurt Hauser Photographers, photographs provided by the Getty Museum: Ellen Rosenbery and Lou Meluso. Unless otherwise noted, photographs were provided by the owners of the objects and are reproduced by permission of those owners. Typography, photo scans, and layout by Integrated Composition Systems, Inc. Printed by Science Press, Div. of the Mack Printing Group Cover: One of a pair of terra-cotta arulae. Malibu, J. Paul Getty Museum 86.AD.598.1. See article by Gina Salapata, pp. 25-50. Library of Congress Cataloging-in-Publication Data Studia varia. p. cm.—-(Occasional papers on antiquities : 10) ISBN 0-89236-634-6: English, German, and Italian. i. Art objects, Classical. 2. Art objects:—California—Malibu. 3. J. Paul Getty Museum. I. J. Paul Getty Museum. II. Series. NK665.S78 1993 709'.3 8^7479493—dc20 93-16382 CIP CONTENTS Coppe ioniche in argento i Pier Giovanni Guzzo Life and Death at the Hands of a Siren 7 Despoina Tsiafakis An Exceptional Pair of Terra-cotta Arulae from South Italy 25 Gina Salapata Images of Alexander the Great in the Getty Museum 51 Janet Burnett Grossman Hellenistisches Gold und ptolemaische Herrscher 79 Michael Pfrommer Two Bronze Portrait Busts of Slave Boys from a Shrine of Cobannus in Gaul 115 John Pollini Technical Investigation of a Painted Romano-Egyptian Sarcophagus from the Fourth Century A.D. -
ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J.