3.2 (Archaic) Copy

Total Page:16

File Type:pdf, Size:1020Kb

3.2 (Archaic) Copy CLA /GWS 206: Women in the Ancient World Women in Archaic Greece Plan for Today • Partheneia • korai • Homeric Hymn to Demeter • Sappho • Archaic misogyny • Discussion • Marriage • what makes a good wife? a bad wife? • Homework for Monday TIMELINE OF CLASSICAL ANTIQUITY Greece ANCIEN LATE BRONZE AGE IRON AGE ARCHAIC CLASSICAL HELLENISTIC ROMAN T 1200 BCE 700 BCE 480 BCE 323 BCE 31 BCE 330 CE ANCIEN LATE BRONZE AGE Rome T 1650 – 1200 BCE MONARCHY REPUBLIC EMPIRE EARLY IRON AGE 1100 – 700 BCE 510 BCE 27 BCE 476 CE ARCHAIC PERIOD MONARCHY 700 – 500 BCE 753 - 510 BCE CLASSICAL PERIOD REPUBLIC 500 – 323 BCE 510-27 BCE HELLENISTIC PERIOD EMPIRE 323 – 31 BCE 27 BCE– 476 CE ROMAN PERIOD 31 BCE – 330 CE Terms • Parthenos (parthenoi pl.): unmarried woman, virgin • Partheneia: the period of time in which girls are parthenoi • Gyne (gynaikes pl.): married woman • Oikos (oikoi pl.): house or home in a broad range of senses, including that of “family” or “family property” Korai • Kore (korai pl.): girl, daughter, virgin; cult name for Persephone; term used for the statue depictions of young women (either as dedications to a goddess or as a funerary marker) • Phrasicleia, c. 530 BCE • “The grave of Phrasicleia: I shall be called girl [kore] forever; for instead of marriage, I received this name from the gods.” Korai • Phrasicleia, c. 530 BCE • “The grave of Phrasicleia: I shall be called girl [kore] forever; for instead of marriage, I received this name from the gods.” • Hestia • “…she swore a great oath, which is what came to pass, touching the head of her father Zeus, the aegis-bearer, that she would remain a virgin for all her days, most noble goddess, and to her father Zeus gave this beautiful honor instead of marriage.” (Homeric Hymn to Aphrodite 26-29) Transition to marriage: Homeric Hymn to Demeter • Composed in later 7th or early 6th c. BCE • Emphasizes the “problematic side of marriage” • Abduction and transition • Pinakes in Magna Graecia • Eleusinian Mysteries Persephone and Hades, pinax, Locri, c 500-450 BCE Transition to marriage: Sappho “Honestly, I wish I were dead!” Weeping many tears she left me, Saying this as well: “Oh, what dreadful things have happened to us, Sappho! I don’t want to leave you!” I answered her: “Go with my blessings and remember me, for you know how we Cherished you. “Sappho and Erinna in a Gardenat Mytilene,” Simeon Solomon, 1864 “But if you have [forgotten], I want to remind you… of the beautiful things that happened to us: Transition to marriage: Sappho “And many woven garlands made from flowers… around your tender neck, “And…with costly royal myrrh… you anointed… “And on a soft bed …tender… you satisfy your desire… “Sappho and Erinna in a Gardenat Mytilene,” Simeon Solomon, 1864 “Nor was there any… nor any holy… From which we were away, …nor grove…” (fr. 94, trans. Snyder) Sappho • Born c. 612 BCE • Lesbos • Aristocratic family • Question of her sexuality and social role • Poetry public or private? Alcman • Poet from Sparta in the 7th c BCE • Partheneia, songs sung by choruses of parthenoi • Displays of emotion and physical appreciation • “…and the desire that looses the limbs, but she looks glances more melting than sleep and death…” (fr. 3P) • Cf. Sappho fr. 130: “limb-loosening love makes me tremble— bittersweet, irresistible, surreptitious” Fragmentary body of Clazomenian neck-amphora, London, c. 550-540 BCE Male Lyric Poets • Hesiod • From Boeotia, c. 750-650 • didactic poetry: Works & Days • epic poetry: Theogony (birth of the gods) • Archilochus • From Paros, c. 687-652 • Known for iambic invective • Cologne Epode • Semonides • From Amorgos, c. 7th c. • Iambic poetry: On Women Archaic Misogyny Discussion Groups • 1-3: Hesiod • Compare and contrast how Hesiod tells the story of Pandora in the Theogony (WLGR 68…but see longer selection online, lines 535- 615) and Works and Days (WLGR 68). • What ideas about women does Pandora relate in each poem? • 4-5: Archilochus • WLGR 277: What activity is being represented? Who are the people involved in this poem and how do they relate to one another? • What activities or characteristics of women are objects of approval? Of disapproval? • 6-7: Semonides • WLGR 69: Note the different “types” of women Semonides identifies. To what does he relate them? How do the qualities relate? • What activities or characteristics of women are objects of approval? Of disapproval? For Next Week Archaic Women & Classical Women • Monday: Archaic Women, intro to the Classical Period, private life • Required Reading: • WCW pp. 68-83, 96-106 • WLGR 319 (Xenophon) • Fill out (and bring to class) SQ3R for WLGR 319 • Questions: What is the ideal relationship between husband and wife? What does the ideal wife do? What is she like? • Look through: paper assignment; paper due 3/1 • Friday: Classical women: private life.
Recommended publications
  • Iambic Ideas Essays on a Poetic Tradition from Archaic Greece to The
    Greek Studies: Interdisciplinary Approaches Series Editor: Gregory Nagy, Harvard University Iambic Ideas Assistant Editor: Timothy Power, Harvard University On the front cover: A calendar frieze representing the Athenian months, reused 111 the Byzantine Church of the Little Metropolis in Athens. The cross is Essays on a Poetic Tradition superimposed, obliterating Taurus of the Zodiac. The choice of this frieze for hooks in Greek Studies: Interdisciplinary Approaches reflects this series' from Archaic Greece to the Late t·mphasis on the blending of the diverse heritages-Near Eastern, Classical, and <'lu istian-in the Greek tradition. Drawing by Laurie Kain Hart, based on a Roman Empire photograph. Recent titles in the series are: · Nothing is As It Seems: The Tragedy ofthe Implicit in Euripides' Hippolytus by HannaM. Roisman /1'1ir· Quotation in Plato EDITED BY by Marian Demos ALBERTO CAV ARZERE, ANTONIO ALONI, I Iff,· and the Poetics ofLoss in Greek Tradition hy Nancy Sultan AND ALESSANDRO BARCHIESI n,, . <' lassica/ Moment: Views from Seven Literatures t·d i led by Gail Holst-Warhaft and David R. McCann "'11111' lissays on Homer t·dllt:d by Miriam Carlisle and Olga Levaniouk 11/,·,l:on• and the Tragic Chorus in Sophocles' Oedipus at Colonus hy Roger Travis /liolt\ '.l'f\'111 rm d Comedy hy Xavier Riu 1 'onl!'\ltwlizing Classics: Ideology, Performance, Dialogue t•thh·d by Thomas M. Falkner, Nancy Felson, and David Konstan '1/t, 1'111' ofAchilles: Oral Style and the Unity of the Iliad hy .I in yo Kim /kfll'''''" Magic and Religion: interdisciplinary Studies in Ancient Af, •tltl!'ll'lllll'lllt Religion and Society t'dllt·d hy Sulochana R.
    [Show full text]
  • 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.
    [Show full text]
  • Silence Is a Woman's Glory
    Silence is a woman‟s glory Women during the Ancient Greece period Silence is a woman‟s glory Women during the Ancient Greece period Silence is a woman‟s glory INDEX 0. Introduction…………………………………………………………………………………..4 1. Women‟s role in Ancient Greece………………………………………………………….7 1.1. Main types of women in Ancient Greece‟s society………………………...……..12 1.1.1. Foreigners or Xénai…………………………………………….…………....12 1.1.2. Wives or gynaíkes………………………………………………………..…..13 1.1.3. Concubines or Pallakai………………………………………..…………….16 1.1.4. Courtesans or Heteaerae………………………………………………..….17 2. Women‟s image in Greece……………………………………………………………….20 2.1. Aristotle‟s Politics…………………………………………………………..………..20 2.2. Plato‟s The Republic…………………………………………………………..…….21 2.3. Xenophon‟s Oeconomicus………………………………………………………….24 2.4. Hesiod‟s Works and Days………………………………………………………..…27 3. The purpose of myth in Ancient Greece…………………………………………….…30 3.1. Women Classification………………………………………..……………………..31 3.1. The ideal woman…………………………………………………………..…..31 3.1.1. Penelope………………………………………………………………..34 3.2. The perverse women………………………………………………………….34 3.2.1 Clytemnestra…………………………………………………………....37 3.3. The seductive women………………………………………………………....40 3.3.1. Helen………………….…………………………………………………40 3.3.2. Calypso………………………………………………………………….43 3.3.3. Circe…………………………………………………………………….44 3.4. Victim of a divinity……………………………………………………………46 3.4.1. Phaedra……………………………………………………………..…..46 2 Silence is a woman‟s glory 3.4.2. Cassandra……………………………………………………….………48 3.5. The victim…………………………………………………………………….50 3.5.1. Iphigenia…………………………………………………………………50
    [Show full text]
  • Sidirountios3
    ZEALOT EARLY CHRISTIANITY AND THE EMERGENCE OF ANTI‑ HELLENISM GEORGE SIDIROUNTIOS A thesis submitted for the degree of Doctor of Philosophy at the University of London (Royal Holloway and Bedford New College) March 2016 1 Candidate’s declaration: I confirm that this PhD thesis is entirely my own work. All sources and quotations have been acknowledged. The main works consulted are listed in the bibliography. Candidate’s signature: 2 To the little Serene, Amaltheia and Attalos 3 CONTENTS Absract p. 5 Acknowledgements p. 6 List of Abbreviations p. 7 Conventions and Limitations p. 25 INTRODUCTION p. 26 1. THE MAIN SOURCES 1.1: Lost sources p. 70 1.2: A Selection of Christian Sources p. 70 1.3: Who wrote which work and when? p. 71 1.4: The Septuagint that contains the Maccabees p. 75 1.5: I and II Maccabees p. 79 1.6: III and IV Maccabees p. 84 1.7: Josephus p. 86 1.8: The first three Gospels (Holy Synopsis) p. 98 1.9: John p. 115 1.10: Acts p. 120 1.11: ʺPaulineʺ Epistles p. 123 1.12: Remarks on Paulʹs historical identity p. 126 2. ISRAELITE NAZOREAN OR ESSENE CHRISTIANS? 2.1: Israelites ‑ Moses p. 136 2.2: Israelite Nazoreans or Christians? p. 140 2.3: Essenes or Christians? p. 148 2.4: Holy Warriors? p. 168 3. ʺBCE CHRISTIANITYʺ AND THE EMERGENCE OF ANTI‑HELLENISM p. 173 3.1: A first approach of the Septuagint and ʺJosephusʺ to the Greeks p. 175 3.2: Anti‑Hellenism in the Septuagint p. 183 3.3: The Maccabees and ʺJosephusʺ from Mattathias to Simon p.
    [Show full text]
  • Apotropaism and Liminality
    Gorgo: Apotropaism and Liminality An SS/HACU Division III by Alyssa Hagen Robert Meagher, chair Spring 2007 Table of Contents List of Figures................................................................................................................ 1 Introduction.................................................................................................................... 3 Chapter 1: Gorgon and Gorgoneion.............................................................................. 5 Chapter 2: Gorgo as a Fertility Goddess....................................................................... 15 Chapter 3: Gorgo as the Guardian of Hades................................................................. 29 Chapter 4: Gorgo in Ecstatic Ritual............................................................................... 41 Chapter 5: Gorgo in the Sphere of Men......................................................................... 51 Bibliography................................................................................................................... 64 Alyssa Hagen 1 List of Figures 1.1 Attic black figure neck amphora. (J. Paul Getty Museum, Malibu 86 AE77. Image 7 from [http://www.theoi.com/Gallery/P23.12.html].) 1.2 Mistress of Animals amulet from Ulu Burun shipwreck. (Bochum, Deutsches 9 Bergbau-Museums 104. Image from [http://minervamagazine.com/issue1704/ news.html].) 1.3 Egyptian amulet of Pataikos. (Image from Virtual Egyptian Museum 10 [http://www.virtual-egyptian-museum.org].) 1.4 Etruscan roof antefix with
    [Show full text]
  • PDF Download Attic Pinakes: Votive Images in Clay
    ATTIC PINAKES: VOTIVE IMAGES IN CLAY : VOTIVE IMAGES IN CLAY PDF, EPUB, EBOOK Kyriaki Karoglou | 223 pages | 31 Dec 2010 | BAR Publishing | 9781407306438 | English | Oxford, United Kingdom Attic Pinakes: Votive Images in Clay : Votive images in clay PDF Book Periods and Historical Context. They wear winged boots and an animal skin thrown over their short chiton, of a type commonly found in Attic representations of the myth. Decoration of Heracles wrestling Attic black-figure white-ground oinochoe. Author : William A. Ritual activity establishes some form of communication between men and the supernatural. Vian -M. The absence of spears indicates that they are jockeys and not cavalrymen or hunters. See for example the low base tentatively associated with fragments of a sculptural group of a man leading a horse dedicated to Pallas Tritogeneia and dated DAA, no. By looking more closely at these "realistic" scenes, one notices that the actions, the setting, and the objects that the figures hold or are associated with-their attributes-all obey iconographic conventions. Greece, Athens, Antiquity. What factors guided the develpment of votive art and to what extent can this development be ascribed to production centers of votive artifacts? A story related by Herodotos 5. Attic blank figure. If Zanker's suggestion that these youths are athletes is valid, then again the subject of the pinax corresponds with the subject of the scene. A running woman holding a wreath serves as a corner akroterion. He asserts that individual architectural members are rendered accurately, but the buildings represented do not correspond to actual structures. A1-A38, pls.
    [Show full text]
  • Species of Ambiguity in Semonides Fr. 7
    Species of Ambiguity in Semonides Fr. 7 Anderson, D. Author post-print (accepted) deposited by Coventry University’s Repository Original citation & hyperlink: Anderson, D 2018, 'Species of Ambiguity in Semonides Fr. 7' Cambridge Classical Journal, vol. 64, pp. 1-22. https://dx.doi.org/10.1017/S1750270518000052 DOI 10.1017/S1750270518000052 ISSN 1750-2705 ESSN 2047-993X Publisher: Cambridge University Press Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. This document is the author’s post-print version, incorporating any revisions agreed during the peer-review process. Some differences between the published version and this version may remain and you are advised to consult the published version if you wish to cite from it. 1 SPECIES OF AMBIGUITY IN SEMONIDES FR. 7 Abstract This paper looks at the structure of Semonides' catalogue in fragment seven, and at the metaphors that underpin it. There is a tension between the organising function of this catalogue and the hybrid entities it lists. It is suggested that the opening and closing lines frame the catalogue conceptually, exploiting ambiguities in the words χωρίς, γένος, and φῦλον. Not only does Semonides play with ideas of order and embrace ambiguities of language, but he suggests that these are a feature of his poetic inheritance: the female types of his catalogue are a collection of hybrids assembled from a variety of Archaic texts and traditions.
    [Show full text]
  • Animals in Greek and Roman Religion and Myth
    Animals in Greek and Roman Religion and Myth Animals in Greek and Roman Religion and Myth Proceedings of the Symposium Grumentinum Grumento Nova (Potenza) 5-7 June 2013 Edited by Patricia A. Johnston, Attilio Mastrocinque and Sophia Papaioannou Animals in Greek and Roman Religion and Myth Edited by Patricia A. Johnston, Attilio Mastrocinque and Sophia Papaioannou This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Patricia A. Johnston, Attilio Mastrocinque, Sophia Papaioannou and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9487-7 ISBN (13): 978-1-4438-9487-6 TABLE OF CONTENTS LIST OF ILLUSTRATIONS .............................................................................. ix EDITORS’ PREFACE ................................................................................... xiii NOTES ON CONTRIBUTORS ......................................................................... xv INTRODUCTION ............................................................................................. 1 Sophia Papaioannou PART I: ANIMALS AND COMMUNICATION WITH THE DIVINE CHAPTER ONE ...........................................................................................
    [Show full text]
  • Ancient) Bodies: the Potters’ Sensory Experiences and the Firing of Red, Black and Purple Greek Vases
    Article Bringing Back the (Ancient) Bodies: The Potters’ Sensory Experiences and the Firing of Red, Black and Purple Greek Vases Sanchita Balachandran 1,2 1 The Johns Hopkins Archaeological Museum, Baltimore, MD 21218, USA; [email protected] 2 Department of Near Eastern Studies, Johns Hopkins University, Baltimore, MD 21218, USA Received: 27 March 2019; Accepted: 27 May 2019; Published: 4 June 2019 Abstract: The study of Athenian black‐figure and red‐figure ceramics is haunted by nearly a thousand “hands” of the artisans thought to be responsible for their painted images. But what of the bodies attached to those hands? Who were they? Given the limited archaeological and epigraphic evidence for these ancient makers, this study attempts to recover their physical bodies through the ceramics production process—specifically the firing of vessels—as a communal activity potentially including a large cast of participants including craftsmen and craftswomen, metics, freed people and slaves. Using an experimental archaeology approach, I argue that we can begin to approach the sensory experiences of ancient potters and painters as they produced all the colored surfaces (and not only images) that endure on Greek vases. I propose a four‐stage sensory firing in combination with the three‐stage chemical firing process known for the production of Athenian ceramics, suggesting that each stage—and the colors produced at each stage—had their own “sensory signatures.” Examining extant vases with this awareness of the bodily experience of their ancient makers has the potential to bring back these ancient bodies, moving us beyond the limiting narrative of a single hand wielding a paint brush.
    [Show full text]
  • Hades: Cornucopiae, Fertility and Death1
    HADES: CORNUCOPIAE, FERTILITY AND DEATH1 Diana Burton (Victoria University of Wellington) The depiction of Hades in myth is fairly unrelenting in its gloom, and this is very much the most influential version today, as may be seen by the incarnations of Hades in modern movies; here he appears as pallid and miserable, or fiery and vengeful, but is never actually seen as enjoying himself. Hades shares the characteristics of his realm. And Hades’ domicile is seen as dim, dank and generally lacking in those things that give the greatest pleasure to the living – food, drink, sex. The fact that other gods do not enter Hades has not only to do with the antipathy between death and immortality, but also emphasises the absence of things that are under their control: Aphrodite’s love and sex, Dionysos’ wine and good cheer, the food given by Demeter. Hades is notoriously the god who receives no cult. This is not entirely correct, though it almost is. Pausanias, who is as usual our best source for this sort of thing, lists several examples of statues or altars in Greece which seem to imply some kind of cult activity, usually in someone else’s sanctuary. So for example Hades has a statue along with those of Kore and Demeter in a temple on the road near Mycenae; he has an image in the precinct of the Erinyes in Athens; he has an altar under the name of Klymenos (whom Pausanias specifically equates with Hades) in Hermione in the Argolid.2 And there are a few other places.3 The one real exception seems to have been in Elis, where he had a temple and sanctuary; although even here, the temple was opened only once a year – because, Pausanias supposes, ‘men too go down only once to Hades’ – and only the priest was permitted to enter.4 It is interesting to note that Pausanias specifically says that the Eleans are the only ones to worship (τιμσιν) Hades – which makes one wonder how he would classify the sacrifices to Klymenos.
    [Show full text]
  • Contents Essays Poetry a Personalized Festival Calendar
    Issue Number 5 Χειµον (Winter) 2004/05 A Personalized Festival Calendar by Oenochoe After years of experimenting and researching and ritualizing, I First, I set down a pattern of monthly observances. In ancient have finally decided to set down a festival calendar for myself. Greece, certain days of the month were always set aside for Of course, I’ve been celebrating festivals up until now, but it certain gods (the days being counted from the first visible was a somewhat haphazard process. I tried to follow the ancient crescent after the dark moon). Following this tradition, I Athenian calendar, but felt uninterested in many of the festivals, created some of my own holy days for the gods I worship most. So I kept the 4th for Hermes and the 7th for Apollon, and or some were timed completely wrong for the climate where I th live. I performed some rituals with my partner, which were a then I added the 9 for Dionysos (in this case because I found a reference to a Dionysian group in ancient times meeting on blend of Hellenismos and Asatru, but didn’t always know how to th reconcile that with my strictly Hellenic practice. There were the ninth of each month). I decided upon the 27 for the gods I wanted to do ritual for that had no extant festivals. And nymphs, loosely based on a sacrifice from Erchia. I kept the 2nd for the agathos daimon, since that is how I relate to my on top of all of that, I have a very personal spiritual life which th includes a few guardian spirits, and I wanted to include them as primary spirit companion.
    [Show full text]
  • Performance and Visual Culture in Etruria: 7Th 2Nd Century BC
    Performance and Visual Culture in Etruria: 7th - 2nd Century BC Stephanie Anne Layton Marietta, Georgia Bachelor of Arts, The George Washington University, 2003 Master of Arts, Florida State University, 2006 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia December 2013 © Copyright by Stephanie Anne Layton All rights Reserved December 2013 Abstract The Etruscan iconographic record is the primary source of information regarding performance activities, which include dance, music, gaming, ritual, spectacle, and athletics. In this study, performance theory is used as a framework for analyzing Etruscan material culture related to emically constructed and provisionally identified performance activities and ascertaining their meaning. Although evidence for Etruscan cultural activity, beliefs, and social interaction is limited, especially given the paucity of textual information, the application of performance theory to the archaeological record provides a means to analyze public and private transmission of messages, relationships, experiences, and cultural behaviors primarily in funerary and civic contexts. Although numerous Etruscan performances have been investigated individually by prior scholarship, performance theory has not been previously applied to Etruscan art and architecture and, therefore, this work takes a new approach towards the analysis of the archaeological record. Evidence included in this study dates between the 8th -2nd centuries BC and consists of wall painting, painted and relief vase decoration, stone and terracotta relief sculpture, engraved gems, and bronze mirrors, decorative attachments, figurines, and vessels. It is only through the study of such varied materials from a wide chronological range that a more complete understanding of Etruscan performance emerges.
    [Show full text]