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An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee's Iphigenia
An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee’s Iphigenia 2.0: A Director’s Approach Caroline Donica Table of Contents Chapter One: Charles Mee and the History Behind Iphigenia 2.0 4 Introduction 4 The Life and Works of Charles Mee 4 Just War 8 Production History and Reception 11 Survey of Literature 13 Conclusion 15 Chapter Two: Play Analysis 16 Introduction 16 Synopsis 16 Given Circumstances 24 Previous Action 26 Dialogue and Imagery 27 Character Analysis 29 Idea and Theme 34 Conclusion 36 Chapter Three: The Design Process 37 Introduction 37 Production Style 37 Director’s Approach 38 Choice of Stage 38 Collaboration with Designers 40 Set Design 44 Costumes 46 Makeup and Hair 50 Properties 52 Lighting 53 Sound 55 Conclusion 56 Chapter Four: The Rehearsal Process 57 Introduction 57 Auditions and Casting 57 Rehearsals and Acting Strategies 60 Technical and Dress Rehearsals 64 Performances 65 Conclusion 67 Chapter Five: Reflection 68 Introduction 68 Design 68 Staging and Timing 72 Acting 73 Self-Analysis 77 Conclusion 80 Appendices 82 A – Photos Featuring the Set Design 83 B – Photos Featuring the Costume Design 86 C – Photos Featuring the Lighting Design 92 D – Photos Featuring the Concept Images 98 Works Consulted 102 Donica 4 Chapter One Charles Mee and the History Behind Iphigenia 2.0 Introduction Charles Mee’s Iphigenia 2.0 is a significant work in recent theatre history. The play was widely recognized and repeatedly produced for its unique take on contemporary issues, popular culture, and current events set within a framework of ancient myths and historical literature. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
PLATE I . Jug of the 15Th Century B.C. from Kourion UNIVERSITY MUSEUM BULLETIN VOL
• PLATE I . Jug of the 15th Century B.C. from Kourion UNIVERSITY MUSEUM BULLETIN VOL . 8 JANUARY. 1940 N o. l THE ACHAEANS AT KOURION T HE University Museum has played a distinguished part in the redis- covery of the pre-Hellenic civilization of Greece. The Heroic Age de- scribed by Homer was first shown to have a basis in fact by Schliemann's excavations at Troy in 1871, and somewhat later at Mycenae and Tiryns, and by Evans' discovery of the palace of King Minos at Knossos in Crete. When the first wild enthusiasm blew itself out it became apparent that many problems raised by this newly discovered civilization were not solved by the first spectacular finds. In the period of careful excavation and sober consideration of evidence which followed, the University Mu- seum had an important part. Its expeditions to various East Cretan sites did much lo put Cretan archaeology on the firm foundation it now enjoys. Alter the excavations at Vrokastro in East Crete in 1912 the efforts of the Museum were directed to other lands. It was only in 1931, when an e xpedition under the direction of Dr. B. H. Hill excavated at Lapithos in Cyprus, that the University Museum re-entered the early Greek field. The Cyprus expedition was recompcsed in 1934, still under the direc- tion of Dr. Hill, with the assistance of Mr. George H. McFadden and the writer, and began work at its present site, ancient Kourion. Kourion was 3 in classical times lhe capital of cne of the independent kingdoms of Cyprus, and was traditionally Greek. -
Indo-Iranian Personal Names in Mitanni: a Source for Cultural Reconstruction DOI: 10.34158/ONOMA.54/2019/8
Onoma 54 Journal of the International Council of Onomastic Sciences ISSN: 0078-463X; e-ISSN: 1783-1644 Journal homepage: https://onomajournal.org/ Indo-Iranian personal names in Mitanni: A source for cultural reconstruction DOI: 10.34158/ONOMA.54/2019/8 Simone Gentile Università degli Studi di Roma Tre Dipartimento di Filosofia, Comunicazione e Spettacolo via Ostiense, 234˗236 00146 Roma (RM) Italy [email protected] To cite this article: Gentile, Simone. 2019. Indo-Iranian personal names in Mitanni: A source for cultural reconstruction. Onoma 54, 137–159. DOI: 10.34158/ONOMA.54/2019/8 To link to this article: https://doi.org/10.34158/ONOMA.54/2019/8 © Onoma and the author. Indo-Iranian personal names in Mitanni: A source for cultural reconstruction Abstract: As is known, some Indo˗Aryan (or Iranian) proper names and glosses are attested in documents from Egypt, Northern Mesopotamia, and Syria, related to the ancient kingdom of Mitanni (2nd millennium BC). The discovery of these Aryan archaic forms in Hittite and Hurrian sources was of particular interest for comparative philology. Indeed, some names can be readily compared to Indo˗Iranian anthroponyms and theonyms: for instance, Aššuzzana can likely be related with OPers. Aspačanā ‘delighting in horses’, probably of Median origin; Indaratti ‘having Indra as his guest’ clearly recalls Indra, a theonym which occurs both in R̥ gveda and Avesta. This paper aims at investigating the relationship between Aryan personal names preserved in Near Eastern documents and the Indo˗Iranian cultural milieu. After a thorough collection of these names, their 138 SIMONE GENTILE morphological and semantic structures are analysed in depth and the most relevant results are showed here. -
Study Questions Helen of Troycomp
Study Questions Helen of Troy 1. What does Paris say about Agamemnon? That he treated Helen as a slave and he would have attacked Troy anyway. 2. What is Priam’s reaction to Paris’ action? What is Paris’ response? Priam is initially very upset with his son. Paris tries to defend himself and convince his father that he should allow Helen to stay because of her poor treatment. 3. What does Cassandra say when she first sees Helen? What warning does she give? Cassandra identifies Helen as a Spartan and says she does not belong there. Cassandra warns that Helen will bring about the end of Troy. 4. What does Helen say she wants to do? Why do you think she does this? She says she wants to return to her husband. She is probably doing this in an attempt to save lives. 5. What does Menelaus ask of King Priam? Who goes with him? Menelaus asks for his wife back. Odysseus goes with him. 6. How does Odysseus’ approach to Priam differ from Menelaus’? Who seems to be more successful? Odysseus reasons with Priam and tries to appeal to his sense of propriety; Menelaus simply threatened. Odysseus seems to be more successful; Priam actually considers his offer. 7. Why does Priam decide against returning Helen? What offer does he make to her? He finds out that Agamemnon sacrificed his daughter for safe passage to Troy; Agamemnon does not believe that is an action suited to a king. Priam offers Helen the opportunity to become Helen of Troy. 8. What do Agamemnon and Achilles do as the rest of the Greek army lands on the Trojan coast? They disguise themselves and sneak into the city. -
Stefano De Martino* the Mittani State
Stefano de Martino* The Mittani State: The Formation of the Kingdom of Mittani During the 15th century BC and the first half of the 14th century BC Mittani was a powerful kingdom; the state ruled over a large area, from the Upper Khabur to the Middle Euphrates, from Eastern Anatolia to North-Western Syria. Unfortunately we have only very few Mitta- nian sources concerning the political organization of this kingdom and its relations to sub- ordinate states and polities. We have even less information about the early history of Mit- tani, that is about the events that brought about its formation. This intriguing topic may be of some interest in this workshop, which deals specifi- cally with the transition from the Amorite to the Mittani period. Mittani is mentioned for the first time in an Egyptian source, the Thebes grave inscription of the state official Amen- emhet; he recalls having participated in a military expedition on Syrian territory and in this context the country of Mtn is mentioned. Even though Amenemhet served under three pharaohs (Ahmose I, Amenhopet I, Thutmose I), it is generally thought that this Syrian ex- pedition coincides with the one led by Thutmose I1 (1493–1483 BC).2 There is still substantial disagreement regarding the time and the historical context in which the state of Mittani was formed. Two hypotheses have been put forth and continue to be upheld by scholars, although with varying motivations and reasoning: 1. Mittani was already a powerful kingdom at the end of the 17th century or in the first half of the 16th century BC, thus its beginnings date to well before the time of Thutmose I, dating instead to the time of the Hittite sovereigns Hattusili I and Mursili I. -
Athens' Domain
Athens’ Domain: The Loss of Naval Supremacy and an Empire Keegan Laycock Acknowledgements This paper has a lot to owe to the support of Dr. John Walsh. Without his encouragement, guid- ance, and urging to come on a theoretically educational trip to Greece, this paper would be vastly diminished in quality, and perhaps even in existence. I am grateful for the opportunity I have had to present it and the insight I have gained from the process. Special thanks to the editors and or- ganizers of Canta/ἄειδε for their own patience and persistence. %1 For the Athenians, the sea has been a key component of culture, economics, and especial- ly warfare. The Peloponnesian War (431-404 BC) displayed how control of the waves was vital for victory. This was not wholly apparent at the start of the conflict. The Peloponnesian League was militarily led by Sparta who was the greatest land power in Greece; to them naval warfare was excessive. Athens, as the head of the Delian League, was the greatest sea power in Greece whose strengths lay in their navy. However, through a combination of factors, Athens lost control of the sea and lost the war despite being the superior naval power at the war’s outset. Ultimately, Athens lost because they were unable to maintain strong naval authority. The geographic position of Athens and many of its key resources ensured land-based threats made them vulnerable de- spite their naval advantage. Athens also failed to exploit their naval supremacy as they focused on land-based wars in Sicily while the Peloponnesian League built up a rivaling navy of its own. -
Anatolian Civilizations.Pdf
P a g e | 1 ANATOLIAN CIVILIZATIONS: “From Hittites to the Persian Domination” Text written by Erdal Yavuz Anatolia, also called Asia Minor, at the Their center was Hattusas (in Boğazköy near crossroads of Asia and Europe, has been the home Yozgat) which will also be the capital city of the of numerous peoples during the prehistoric ages, Hittite kingdoms. with well-known Neolithic settlements such as Hattians spoke a language related to the Çatalhöyük , Çayönü, Hacılar to name a few. Northwest Caucasian language group eventually The settlement of legendary Troy also starts merged with the Hittites, who spoke the Indo- in the Neolithic period and continues forward into European Hittite language. the Iron Age. In the east and south east Anatolia, one of Anatolia offered a mild climate with reliable the earliest state builders were the Hurrians, and regular rainfall necessary for a regular entering the scene toward the end of the 3rd agricultural production. Besides the timber and millennium BC stone essential for construction but deficient in Hurrians occupied large sections of eastern Mesopotamia, Anatolia had rich mines, which Anatolia and later the Cilicia region (From Alanya to provided copper, silver, iron, and gold. Mersin including the Taurus Mountains) and had a Since the peninsula is a land bridge between strong influence on the Hittite culture, language and Asia and Europe as well as the Mediterranean and mythology. the Black Sea, trade to and from the region also had However the Hurrians lost all political and been important since the prehistoric times. All the cultural identity by the last part of the 2nd above particularities made Anatolia very attractive millennium BC. -
Narrating Myth
9781405126342_4_001.qxd 23/01/2009 11:37 AM Page 10 1 Narrating Myth When Paris came, I let him in. What happened afterwards we all know – at least, we know the events, but some of us are at a loss to interpret them (Helen in John Erskine, The Private Life of Helen of Troy) To tell a story is to try to understand it (H. Porter Abbott, Narrative) Stories never live alone. They are branches of a family that we have to trace back and forward (Roberto Calasso, The Marriage of Cadmus and Harmony) Whose Story? In her wide-ranging account of Helen of Troy as “goddess, princess, whore,” Bettany Hughes writes that “Helen found in Homer the most bril- liant of biographers,” a sentiment expressed more specifically elsewhere when she describes the Iliad as “Homer’s account of Helen” (2005: 343, xxxv). Hughes is but the most recent of many commentators who hold that the Trojan War is Helen’s story and that the Iliad is “about” Helen (e.g., West 1975: 3; Pollard 1965: 22). In fact what is noticeable about the Iliad is how little itCOPYRIGHTED has to do with Helen, or rather MATERIAL how little it has to say about Helen, who is confined to three episodes in books 3, 6, and 24. In book 3 she appears on the battlements with Priam, identifying the Greek war- riors for the Trojan king. In book 6 she criticizes Paris. In book 24 she is the third of the three female voices mourning Hector.1 But in another sense Helen is everywhere in the Iliad, for without Helen there would be no war; no war, no story. -
Planning Development of Kerameikos up to 35 International Competition 1 Historical and Urban Planning Development of Kerameikos
INTERNATIONAL COMPETITION FOR ARCHITECTS UP TO STUDENT HOUSING 35 HISTORICAL AND URBAN PLANNING DEVELOPMENT OF KERAMEIKOS UP TO 35 INTERNATIONAL COMPETITION 1 HISTORICAL AND URBAN PLANNING DEVELOPMENT OF KERAMEIKOS CONTENTS EARLY ANTIQUITY ......................................................................................................................... p.2-3 CLASSICAL ERA (478-338 BC) .................................................................................................. p.4-5 The municipality of Kerameis POST ANTIQUITY ........................................................................................................................... p.6-7 MIDDLE AGES ................................................................................................................................ p.8-9 RECENT YEARS ........................................................................................................................ p.10-22 A. From the establishment of Athens as capital city of the neo-Greek state until the end of 19th century. I. The first maps of Athens and the urban planning development II. The district of Metaxourgeion • Inclusion of the area in the plan of Kleanthis-Schaubert • The effect of the proposition of Klenze regarding the construction of the palace in Kerameikos • Consequences of the transfer of the palace to Syntagma square • The silk mill factory and the industrialization of the area • The crystallization of the mixed suburban character of the district B. 20th century I. The reformation projects -
Transgendering Clytemnestra Jennifer Rae Mcdermott
Transgendering Clytemnestra Jennifer Rae McDermott Many Greek tragedies have mysteriously evaded the controlling influence of time; they are read today with as much admiration and emotion as they would have inspired in their first audiences. Works immor - tal, they rekindle in modern readers the passionate fires of ancient times and peoples. Two names still common on modern lips are those of the great poets Aeschylus and Homer. While Aeschylus penned tragedies for the theatre in the early fifth century BC, Homer, in the eighth century BC, composed epics of Greek culture that encompassed in their scope “material for [many] tragedies.” 1 The relationship between these forms of narrative is evidenced in the shared myth of Agamemnon’s murder by Clytemnestra and Aegisthus in both Homer’s epic poem Odyssey and Aeschylus’ tragedy Oresteia . In comparing the different angles with which these poets choose to treat the same tale, certain discrepancies are imme - diately apparent regarding the role, treatment, and function of Clytemnestra. I will argue that the differences in Clytemnestra’s characterization in these two works are predom - inantly related to gender: whereas in Aeschylus’ work she is cast as manly, Homer casts her as womanly. In Oresteia , she commands the play; in Odyssey , she remains but a shadowy figure on the outskirts of the story. This is evidenced, first in the immediacy and manner of her portrayal, second, in her domi - nance or subservience to men, and third, in her degree of responsibility for Agamemnon’s murder. Furthermore, these gender related distinctions correspond to Clytemnestra’s function in each text; Aeschylus creates Clytemnestra as a tragically human heroine, whereas Homer uses her, coupled to Aegisthus, to foil the central situation of Penelope and the Suitors. -
An Examination of the Gender Roles of Clytemnestra and Electra
Rebellious Performances: An Examination of the Gender Roles of Clytemnestra and Electra Bethany Nickerson Honors Thesis-English Department Advisor: Jeffrey DeShell, English Cathy Preston, English John Gibert, Classics March 22, 2012 Nickerson 1 Abstract This thesis seeks to create an understanding of the mythological characters of Clytemnestra and Electra as they were portrayed by Aeschylus, Sophocles, and Euripides. By examining these plays in conjunction with the historical setting in which they were written and performed, this discussion shows how these two female characters play masculine roles in order to achieve their desires. These fictional women reveal how the real-life women of Classical Athens, were always caught in a double bind due to the patriarchal society in which they lived. This thesis examines the plays of these playwrights in their original Greek in order to examine how these women play masculine roles though their actions as well as the very words they use. This discussion ends with an examination of these female characters in relation to the male character Orestes which shows how these women are ultimately unsuccessful in their attempts to achieve their desires because they are, in the end, women. Nickerson 2 From the haunting song of the seductive sirens to the killing glare of Medusa and from the terrifying features of the chimera to the deadly riddles of the Sphinx, the feminine often appears in Greek mythology as perilous and evil. In the literature and myths of the Greeks from the earliest poems of the archaic period to the sophisticated dramas of Classical Athens, there emerges a pervasive fear of women.