Pollini, John. Two Bronze Portrait Busts of Slave Boys from a Shrine
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Priceless Artifacts Return to Italy and Greece, but Their Histories Remain
ntiquities dealers Robert Hecht and Giacomo Medici should have tidied up their desks. Raids by the Italian police in 1995 and 2000 yielded a mountain Aof evidence—from photos of Greek and Roman artifacts still in the ground to Hecht’s handwritten memoir—that showed exactly how A Tangled Journey Home the two had been trafficking looted antiquities through the international art market for decades Priceless artifacts return to Italy (“Raiding the Tomb Raiders,” July/August and greece, but their histories 2006). Their clients included, among others, three preeminent American cultural institutions: remain lost. the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; and the J. Paul by Eti Bonn-Muller and Eric A. Powell Getty Museum, Malibu. Italy and Greece were simultaneously outraged and delighted with the news. Their long-standing suspicions were confirmed: Metropolitan MuSeuM of art artifacts recently acquired by major museums New York, New York had been looted from their soil. And they lthough the Met maintains that it acquired the jumped at the opportunity to get them back. artifacts in good faith, the museum has already trans- Years of negotiations in the style of a Greek Aferred title of 21 objects to Italy’s Ministry of Culture. So tragedy finally paid off and have resulted in some far, the Met has sent back four terracotta vessels and is planning delicately worded agreements providing for to return the other objects over the next few years. As part of the repatriations and reciprocal long-term loans. 2006 agreement, the Ministry is allowing the Met to display the The following pages showcase a handful of remaining pieces for a while longer to coincide with the opening of the 62 artifacts that have been (or are slated to the museum’s new Greek and Roman galleries. -
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. -
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. -
Empty International Museums' Trophy Cases of Their Looted Treasures
Denver Journal of International Law & Policy Volume 36 Number 1 Winter Article 5 April 2020 Empty International Museums' Trophy Cases of Their Looted Treasures and Return Stolen Property to the Countries of Origin and the Rightful Heirs of Those Wrongfully Dispossessed Michael J. Reppas II Follow this and additional works at: https://digitalcommons.du.edu/djilp Recommended Citation Michael J. Reppas, Empty International Museums' Trophy Cases of Their Looted Treasures and Return Stolen Property to the Countries of Origin and the Rightful Heirs of Those Wrongfully Dispossessed, 36 Denv. J. Int'l L. & Pol'y 93 (2007). This Article is brought to you for free and open access by Digital Commons @ DU. It has been accepted for inclusion in Denver Journal of International Law & Policy by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. EMPTY "INTERNATIONAL" MUSEUMS' TROPHY CASES OF THEIR LOOTED TREASURES AND RETURN STOLEN PROPERTY TO THE COUNTRIES OF ORIGIN AND THE RIGHTFUL HEIRS OF THOSE WRONGFULLY DISPOSSESSED MICHAEL J. REPPAS II * The discovery of the earliestcivilizations [in the 19 th Century] was a glorious adventure story.... Kings visited digs in Greece and Egypt, banner headlines announced the latestfinds, and thousandsflocked to see exotic artifactsfrom distant millennia in London, Berlin, and Paris. These were the pioneer days of archaeology,when excavators.., used battering rams, bruteforce, and hundreds of workmen in a frenzied searchfor ancientcities and spectacular artifacts. From these excavations was born the science of archaeology. They also spawned a past.I terrible legacy - concerted efforts to loot and rob the The ethical questions surrounding the acquisition and retention of looted property by museums and art dealers were once a subject reserved for mock-trial competitions in undergraduate humanities and pre-law classes. -
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. -
A Companion to Greek Religion
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Kernos Revue internationale et pluridisciplinaire de religion grecque antique 21 | 2008 Varia Daniel OGDEN (ed.), A Companion to Greek Religion Joannis Mylonopoulos Electronic version URL: http://journals.openedition.org/kernos/1683 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2008 ISSN: 0776-3824 Electronic reference Joannis Mylonopoulos, « Daniel OGDEN (ed.), A Companion to Greek Religion », Kernos [Online], 21 | 2008, Online since 15 September 2011, connection on 21 April 2019. URL : http:// journals.openedition.org/kernos/1683 Kernos RevuedesL vres 319 2. Comptes rendus et notices 1i1liogr phiques Dan elO8DEN(ed.),A Companion to ree) Religion,Oxford,BlackEell,2007.1 vol.18×2Icm,097p.(Blac)well Companions to the Ancient.orld).ISBN:978+1+ 00I1+20I0+8. Recent scholarsh p n the f eld of Class cs s def n tely dom nated by compan ons, ntroduct ons,asEellasEinf-hrungen tol terallyalmosteveryth ng,and t sleg t matetoask hoEnecessarytheyreallyare,EhethertheyaddneE ns ghtstoourknoEledge,ordothey s mplyrepresenttheproductofaneEscholarlyfast+food+era?Itshouldbestressedfrom theverybeg nn ngthatth sneEcompan oncerta nlydoesnotbelongtothelastcategory, for the sheer Qcollect onR of renoEned contr butors guarantees the h ghest standards. Nevertheless,already nh s ntroductorynote,theed torrevealsthebook’smost mportant Eeakness2 although Ee may or may not agree -
Enforcement of Foreign Cultural Patrimony Laws in US Courts
South Carolina Journal of International Law and Business Volume 4 Article 4 Issue 1 Fall 2007 Enforcement of Foreign Cultural Patrimony Laws in U.S. Courts: Lessons for Museums from the Getty Trial and Cultural Partnership Agreements of 2006 Carrie Betts Follow this and additional works at: https://scholarcommons.sc.edu/scjilb Part of the International Law Commons Recommended Citation Betts, aC rrie (2007) "Enforcement of Foreign Cultural Patrimony Laws in U.S. Courts: Lessons for Museums from the Getty Trial and Cultural Partnership Agreements of 2006," South Carolina Journal of International Law and Business: Vol. 4 : Iss. 1 , Article 4. Available at: https://scholarcommons.sc.edu/scjilb/vol4/iss1/4 This Article is brought to you by the Law Reviews and Journals at Scholar Commons. It has been accepted for inclusion in South Carolina Journal of International Law and Business by an authorized editor of Scholar Commons. For more information, please contact [email protected]. ENFORCEMENT OF FOREIGN CULTURAL PATRIMONY LAWS IN U.S. COURTS: LESSONS FOR MUSEUMS FROM THE GETTY TRIAL AND CULTURAL PARTNERSHIP AGREEMENTS OF 2006 CarrieBetts* "Until now we have dreamed, we have slept. Now it is time to wake up." - Maurizio Fiorelli, Italian Prosecutor in the Getty trial.' I. INTRODUCTION Until the former curator of the J. Paul Getty Museum, Marion True, was indicted on criminal charges and hauled into the Tribunale Penale di Roma for trafficking in stolen antiquities and criminal associations, the modem international trade in looted antiquities barely registered on the radars of most major media outlets. In the wake of the ongoing trial of True in Rome, museums across the U.S. -
Wednesday, March 23, 2011 Getty Ships Aphrodite Back to Sicily
Wednesday, March 23, 2011 Getty ships Aphrodite back to Sicily * After a long dispute the museum acknowledges the statue's true origins. Home Edition, Calendar, Page D-1 Entertainment Desk 20 inches; 857 words By Jason Felch, The J. Paul Getty Museum's iconic statue of Aphrodite was quietly escorted back to Sicily by Italian police last week, ending a decades-long dispute over an object whose craftsmanship, importance and controversial origins have been likened to the Parthenon marbles in the British Museum. The 7-foot tall, 1,300-pound statue of limestone and marble was painstakingly taken off display at the Getty Villa and disassembled in December. Last week, it was locked in shipping crates with an Italian diplomatic seal and loaded aboard an Alitalia flight to Rome, where it arrived on Thursday. From there it traveled with an armed police escort by ship and truck to the small hilltop town of Aidone, Sicily, where it arrived Saturday to waiting crowds. It was just outside this town, in the ruins of the ancient Greek colony of Morgantina, that authorities say the cult goddess lay buried for centuries before it was illegally excavated and smuggled out of Italy. When the Getty bought the Aphrodite for $18 million in 1988, the statue's importance outweighed the signs of its illicit origins. "The proposed statue of Aphrodite would not only become the single greatest piece of ancient art in our collection; it would be the greatest piece of Classical sculpture in this country and any country outside of Greece and Great Britain," wrote former antiquities curator Marion True in proposing the acquisition. -
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.