CMC-7332 the Social and Cultural Contexts of Historic Writing Practices.Indb
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Kernos Revue Internationale Et Pluridisciplinaire De Religion Grecque Antique
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 20 | 2007 Varia Pherekydes’ Daktyloi Ritual, technology, and the Presocratic perspective Sandra Blakely Electronic version URL: http://journals.openedition.org/kernos/161 DOI: 10.4000/kernos.161 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2007 ISSN: 0776-3824 Electronic reference Sandra Blakely, “Pherekydes’ Daktyloi”, Kernos [Online], 20 | 2007, Online since 15 March 2011, connection on 26 February 2021. URL: http://journals.openedition.org/kernos/161 ; DOI: https:// doi.org/10.4000/kernos.161 This text was automatically generated on 26 February 2021. Kernos Pherekydes’ Daktyloi 1 Pherekydes’ Daktyloi Ritual, technology, and the Presocratic perspective Sandra Blakely Introduction: Classics and the Evolutionary paradigm 1 Western culture is traditionally ill equipped to understand the intersection of ritual and technology. Pfaffenberger, Killick, and Lansing have observed the causes, and what is lost by failing to shake these off.1 Because these activities occupy different categories in the industrialized world, attempts to interpret their coincidence in other cultures lean to the dismissive. They are regarded as a reflection of the earliest stages of invention, compensatory appeals to the divine that reflect incomplete mastery of technological processes. The combination is often called magic by both practitioners and academics. Magic has been traditionally synonymous with primitivism; an evolutionary model suggests that such superstitions evaporate as technology is mastered, and linger only in folk tales and half-remembered superstitions.2 The cost of this paradigm is substantial. Emphasizing the movement into subsequent intellectual paradigms, it reduces attention to symbols in context. -
Attic Pottery of the Later Fifth Century from the Athenian Agora
ATTIC POTTERY OF THE LATER FIFTH CENTURY FROM THE ATHENIAN AGORA (PLATES 73-103) THE 1937 campaign of the American excavations in the Athenian Agora included work on the Kolonos Agoraios. One of the most interesting results was the discovery and clearing of a well 1 whose contents proved to be of considerable value for the study of Attic pottery. For this reason it has seemed desirable to present the material as a whole.2 The well is situated on the southern slopes of the Kolonos. The diameter of the shaft at the mouth is 1.14 metres; it was cleared to the bottom, 17.80 metres below the surface. The modern water-level is 11 metres down. I quote the description from the excavator's notebook: The well-shaft, unusually wide and rather well cut widens towards the bottom to a diameter of ca. 1.50 m. There were great quantities of pot- tery, mostly coarse; this pottery seems to be all of the same period . and joins In addition to the normal abbreviations for periodicals the following are used: A.B.C. A n tiquites du Bosphore Cimmerien. Anz. ArchaiologischerAnzeiger. Deubner Deubner, Attische Feste. FR. Furtwangler-Reichhold, Griechische Vasenmxlerei. Kekule Kekule, Die Reliefs an der Balustrade der Athena Nike. Kraiker Kraiker,Die rotfigurigenattischen Vasen (Collectionof the ArchaeologicalIn- stitute of Heidelberg). Langlotz Langlotz, Griechische Vasen in Wiirzburg. ML. Monumenti Antichi Pu'bblicatiper Cura della Reale Accadenia dei Lincei. Rendiconti Rendiconti della Reale Accademia dei Lincei. Richter and Hall Richter and Hall, Red-Figured Athenian Vases in the Metropolitan Museum of Art. -
A Protocorinthian Aryballos with a Myth Scene from Tegea
SVENSKA INSTITUTEN I ATHEN OCH ROM INSTITUTUM ATHENIENSE ATQUE INSTITUTUM ROMANUM REGNI SUECIAE Opuscula Annual of the Swedish Institutes at Athens and Rome 13 2020 STOCKHOLM Licensed to <[email protected]> EDITORIAL COMMITTEE Prof. Gunnel Ekroth, Uppsala, Chairman Dr Lena Sjögren, Stockholm, Vice-chairman Mrs Kristina Björksten Jersenius, Stockholm, Treasurer Dr Susanne Berndt, Stockholm, Secretary Prof. Christer Henriksén, Uppsala Prof. Anne-Marie Leander Touati, Lund Prof. Peter M. Fischer, Göteborg Dr David Westberg, Uppsala Dr Sabrina Norlander-Eliasson, Stockholm Dr Lewis Webb, Göteborg Dr Ulf R. Hansson, Rome Dr Jenny Wallensten, Athens EDITOR Dr Julia Habetzeder Department of Archaeology and Classical Studies Stockholm University SE-106 91 Stockholm [email protected] SECRETARY’S ADDRESS Department of Archaeology and Classical Studies Stockholm University SE-106 91 Stockholm [email protected] DISTRIBUTOR eddy.se ab Box 1310 SE-621 24 Visby For general information, see http://ecsi.se For subscriptions, prices and delivery, see http://ecsi.bokorder.se Published with the aid of a grant from The Swedish Research Council (2017-01912) The English text was revised by Rebecca Montague, Hindon, Salisbury, UK Opuscula is a peer reviewed journal. Contributions to Opuscula should be sent to the Secretary of the Editorial Committee before 1 November every year. Contributors are requested to include an abstract summarizing the main points and principal conclusions of their article. For style of references to be adopted, see http://ecsi.se. Books for review should be sent to the Secretary of the Editorial Committee. ISSN 2000-0898 ISBN 978-91-977799-2-0 © Svenska Institutet i Athen and Svenska Institutet i Rom Printed by TMG Sthlm, Sweden 2020 Cover illustrations from Aïopoulou et al. -
On the Original of Two Piece of Glass Amphoriskos in Resun Museum*
KARADEN Z, 2018; (38) ON THE ORIGINAL OF TWO PIECE OF GLASS AMPHORISKOS IN RESUN MUSEUM* RESUN MÜZES ’NDEK CAM AMPHOR SKOS’UN ORJ NALL ÜZER NE Fevziye EKER** ABSTRACT The study includes observations on two glass amphoriskos in the group of archeological vessels in Giresun Museum. The artifacts that are gained to the museum by way of purchasing are protected in the storage. Amphoriskos were produced by using the core-formed technique. At first step, their photographs have been taken, the inventory information has been recorded and the catalog has been prepared. After the examination on these works, it has been tried to reach information about the production places of such glass vessels or the way of arriving to the city by considering the form and appearance characteristics. Furthermore, it has been emphasized whether the studied works are original or not. Key words: Giresun Museum, Glass, Amphoriskos, Core-Formed Technique, Fake Glass Vessels. ÖZ Çal ma, Giresun Müzesi’ndeki arkeolojik eserler grubunda yer alan 2 adet cam amphoriskos üzerine yap lan gözlemleri kapsamaktad r. Sat n alma yolu ile müzeye kazand lan eserler depoda korunmaktad r. Amphoriskoslar iç kal p tekni i kullan larak üretilmi tir. Eserlerin ilk olarak foto raf çal mas yap lm , envanter bilgileri al nm ve katalog haz rlanm r. Bu eserler üzerinde yap lan inceleme sonras nda form ve bezeme özellikleri göz önünde tutularak bu tip cam kaplar n üretim yerleri veya kente geli ekli konusunda bilgilere ula lmaya çal lm r. Ayr ca incelenen eserlerin orijinal olup olmad klar üzerinde durulmu tur. Anahtar Kelimeler: Giresun Müzesi, Cam, Amhoriskos, ç Kal p Tekni i, Sahte Cam Kaplar. -
GAR Volume 7 Issue 21 Cover and Front Matter
GREECE & ROME VOLUME VII OXFORD : AT THE CLARENDON PRESS PUBLISHED FOR THE CLASSICAL ASSOCIATION Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.219, on 02 Oct 2021 at 04:56:59, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0017383500005532 CONTENTS Number 19 (OCT. 1937) APROPOS OF TRANSLATION. By Randall Swingler . 1 THE DIRECT METHOD. By Alice M. Croft . .11 GEOMETRIC MAN. By R. P. Austin . .18 CATULLUS IN GEYSERLAND. By E. M. Blaiklock . 25 NEC ME TACEBIT BILBILIS. By H. Mattingly . 28 PARTY POLITICS AND FREE SPEECH IN DEMO- CRATIC ATHENS. By Lionel Pearson . 41 LATIN CROSSWORD SOLUTION—PROPER NAMES . 50 DOWN THE HIGH STREET. By W. F. Gosling . 51 LUDUS ELEGIACUS. By L. E. Eyres 56 VERSION. By H.Rackham . .58 LATIN CROSSWORD 59 REVIEWS ....... 60 DESCRIPTION OF SUPPLEMENTARY ILLUSTRA- TIONS. Plates XXV-XXVIII . 63 Number 20 (FEB. 1938) PERSEPOLIS. By G. Stott . 65 VERSIONS. ByK.D.R.. -75 THE PUBLIC GAMES OF THE ROMANS. By J. B. Poynton ....... 76 TRANSLATING POETRY. By W. H. Oldak* • . 86 HORACE'S CRITICISM OF LIFE. By Donald A. Mac- Naughton ........ 101 SOLUTION TO LATIN CROSSWORD 'LUDUS—A NONLUDENDO' . .114 HERESIES. VI—THE THIRD CONCORD. By J. W. Haime . .115 GREEK CROSSWORD . .118 READERS'QUERIES - - . - .119 VERSION. By A. D. Nightingale . .120 REVIEWS ....... 122 BOOKS RECEIVED . 126 DESCRIPTION OF SUPPLEMENTARY ILLUSTRA- TIONS. Plates XXIX-XXXII . .127 Downloaded from https://www.cambridge.org/corePrinted. IP address: in Great 170.106.40.219 Britain, on 02 Oct 2021 at 04:56:59, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. -
Campanian Red-Figure Bell Krater 350–325 Bce Attributed to the Cumae ‘A’ Painter Southern Italy Terra-Cotta, Gloss 8–3814; L2009.1001.025
Campanian red-figure bell krater 350–325 bce attributed to the Cumae ‘A’ Painter Southern Italy terra-cotta, gloss 8–3814; L2009.1001.025 On this krater, a nude youth with a spear is depicted seated on a drapery-covered rock. He converses with a woman who holds a wreath phiale, and a libation dish used to pour wine or other liquid offerings to gods. Education Program 2 Scenes from Myths and Daily Life: Ancient Mediterranean Pottery from the Collections of the Phoebe A. Hearst Museum of Anthropology Ancient Mediterranean painted pottery, a Mediterranean and Black Seas. Greek arts remarkable craft from classical antiquity, flourished from 700 to 300 bce. During continues to captivate viewers thousands this time, two of the main ceramic centers of years later. Pottery is more commonly in Greece, Corinth and Athens, exported the excavated and preserved than any other early art distinctive and highly sought-after painted form. Scenes depicted on Greek and Etruscan pottery throughout the Mediterranean region. vases reveal many of the cultural practices and The Etruscans inhabited north-central Italy, a daily lives of these ancient peoples. Ceramic region in classical times referred to as Etruria. vessels explore a wide variety of subject matter They developed a taste for Greek painted pottery, including myths, gods and demons, warriors at which they imported from Corinth around battle, animals, social gatherings, athletics, 630 to 540 bce. By the second and the roles of men and women in quarter of the sixth century, the society. Etruscans purchased an increasing Clay, which was plentiful in many number of vessels from Athens. -
The Areopagos Oval Building Reconsidered*
The Areopagos Oval Building Reconsidered* Floris van den Eijnde, Michael Laughy Introduction The Areopagos Oval Building (AOB) provides a rare insight into Athenian architecture during the Geometric period, a time in which the archaeological record is mostly confined to graves . Dorothy Burr’s original 1933 publication of the building remains an exemplary and exhaustive presentation of the archaeological evidence (Burr 1933) . Burr identified the structure as a house (e .g . Burr 1933, 637) . In 1968, however, Homer Thompson suggest- ed that the structure served a cult for the dead rather than a domestic house (Thompson 1968, 58-60; 1978) . He based his theory on the seemingly isolated position of the building, its superposition directly over an EG I child’s burial, and its proximity to nearby burials (fig. 1) . Thompson also suggested that “a thin, low stone socle for the bounding wall, a clay floor cobbled in part, and traces of burning on the floor, would be equally and perhaps more ap- propriate to a temenos open to the sky” (Thompson 1968, 60) . A large PA votive deposit covered much of the building’s collapsed remains . This depos- it included fine pottery, figurines of horses and chariots, rectangular pinakes, and miniature terracotta shields . Burr suggested that the deposit was not associated with the AOB, but rather was refuse from a nearby sanctuary (Burr 1933, 636-640) . For Thompson, the depos- it secured the AOB’s identity as a shrine, for he considered the votive assemblage “closely matched in the votive deposit found in the dromos of the Mycenaean tholos tomb at Meni- dhi,” and therefore suitable for a “cult of the dead” (Thompson, 1968, 60) . -
Introduction to Sleep Under Stone
Stones of Contradiction: An Introduction to Sleep Under Stone Artist’s rendering of Homeric Troy In the summer of 2002, I went on a writing retreat in Oregon to try to finish a novel, or what I hoped was a novel, which I had started some eight years earlier. It was the story of the fall of Troy, certainly among the oldest and most frequently retold tales in Western literature. Why, any thoughtful reader might ask, revisit such an old story? What relevance does a dusty war-myth have in the contemporary world? Troy level VI (Homeric period)excavated by Heinrich Schleimann The short answer is, I don’t know. Stories exist in the air all around us, and why we pluck one and not another when we reach up in an idle or desperate moment, I can’t say. But the long answer, if you have the time 1 to explore this with me, is that no matter what we are writing, every poem or story is a lifetime in the making, and this one stretches back a number of years. My interest in the Trojan War is an old one, inspired partly by a trip to Greece and Crete in May of 1975 when I first saw the archeological sites of the Mycenaean and Minoan cultures. That summer, I also had the chance to work on an Etruscan dig at Artimino, a village outside Florence where I was studying. But even before that, my fascination with the interface between history and mythology probably was kindled by my first reading of Homer’s and Virgil’s epics and the Oresteian Trilogy when I was in high school. -
The Nuptial Ceremony of Ancient Greece and the Articulation of Male Control Through Ritual
Macalester College DigitalCommons@Macalester College Honors Projects Classics Department 4-27-2006 The uptN ial Ceremony of Ancient Greece and the Articulation of Male Control Through Ritual Casey Mason Macalester College Follow this and additional works at: http://digitalcommons.macalester.edu/classics_honors Part of the Ancient History, Greek and Roman through Late Antiquity Commons Recommended Citation Mason, Casey, "The uN ptial Ceremony of Ancient Greece and the Articulation of Male Control Through Ritual" (2006). Honors Projects. Paper 5. http://digitalcommons.macalester.edu/classics_honors/5 This Honors Project is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. The Nuptial Ceremony of Ancient Greece and the Articulation of Male Control Through Ritual Casey M. Reynolds May 2006 Classics Nanette Goldman, Advisor 1 TABLE OF CONTENTS Introduction 2 The Betrothal and Dowry 8 The Participants 14 Chronology 20 Proaulia 22 Gamos 27 Epaulia 52 Metaphors for Marriage 56 Conclusion 61 List of Figures 63 Glossary 67 Bibliography 70 Ancient Sources 75 2 INTRODUCTION Recent scholarship has provoked a renewed dialogue concerning the status of women in Classical Athens. This work is a part of this dialogue, and attempts to explore the rituals of the nuptial ceremony for the purpose of defining the status of women in Classical Athens. The wedding ceremony was the pivotal coming-of-age rite for young women, and thus provides ample opportunity to assess societal ideals for women in Classical Athens. -
Two Centujries of Hellenistic Pottery
TWO CENTUJRIES OF HELLENISTIC POTTERY PLATE III INTRODUCTION' TIuE object of this study is to clarify and amplify that chapter in the ceramic history of Athens which covers the time betweeni the end of the fourth and the end of the second century B.c. The two intervening, centuries constitute a definite period in the development of Athenian potterv. From the end of the sixth down to the closing years of the fourth century, Athenian potters had concentrated on the decoration of their finer wares in the red-figure style. In the course of those two centuries the style had developed, had realized its fullest possibilities, and, in the natural course of events, had gone to seed. Among the most vigorous of the seedlings, was a style of ceramic (lecoration known as that of "West Slope Ware." It will be well representied in the groups to be discussed below. 'We shall find reason to believe that this new style sprang up in the closing years of the fourth century and flourished during the following two centuries and more. To a time but little later than that of the origin of " West Slope Ware " we mnust assign the beginning of the Atheniian mranufacture of " Mecarian Bowls," 2 These rapidly assumed such popularity as to becomne the typical finer ware amnong the deposits of habitation accu- mulated during those same two centuries. The beginning of the new era in ceramnic history was marked further by an increased rea(diness on the part of the worker in 1 The ciretumstances in which thIe paper was written have made imnpossible extensive study of com- parative material in otlher collections, and even exhaustive bibliographical references. -
Laconian Clay and Bronze Oinochoae with Plastic Decora- Tions
BaBesch 74 (1999) Laconian clay and bronze oinochoae with plastic decora- tions Paola Pelagatti and Conrad Stibbe Part 1 shown to have a Laconian provenance in the survey recently conducted in Sicily. Fragments of the same ware were also reported by D. Williams at Aegina, INTRODUCTION. in the sanctuary of Aphaia, and by R. Catling fol- lowing an extensive survey in Laconia itself1. When Arthur Lane wrote his fundamental study on The presence of this form2 – until recently almost Laconian pottery, published in BSA 34 (1933-'34) unattested outside Sparta – had already been 99-189, he did not have much to tell about Laconian reported by Boardman and Hayes on the other side oinochoae. Just half a page was enough for the of the Western Mediterranean, at Tocra (ancient whole story (p. 145). The shape was “very common Taucheira) in Libya3. at Sparta, but few were exported”, he noted. Some years earlier, E. Kunze and B. B. Shefton, Since then the situation has changed considerably. publishing material respectively from Olympia and Now we know that in fact many Laconian trefoil- Perachora4, had recognized two tiny palmettes with mouthed oinochoae, black-figured and, above all, snake finials as belonging to Laconian oinochoae, black-glazed, were exported from the second half of in the plastically decorated version. They had con- the seventh century, through most of the sixth B.C. nected them with some equally miniscule fragments With the help of bronze oinochoae, which recently from the sanctuary of Artemis Orthia at Sparta, have been identified as Laconian, the story of the where complete plain black forms are lacking. -
Revista Romaneasca Pentru Educatie Multidimensionala
Revista Romaneasca pentru Educatie Multidimensionala Romanian Journal for Multidimensional Education ISSN: 2066 – 7329 (print), ISSN: 2067 – 9270 (electronic) Covered in: Index Copernicus, Ideas RePeC, EconPapers, Socionet, Ulrich Pro Quest, Cabbel, SSRN, Appreciative Inquiry Commons, Journalseek, Scipio, EBSCO, DOAJ Aspecte ale ceramicii antichităţii pe teritoriul României: de la olăria profană la cea paleocreştină/ Aspects of Ancient Ceramics in Romania: from Secular to Paleo-Christian Pottery Ioana-Iulia OLARU Revista Romaneasca pentru Educatie Multidimensionala, 2013, Volume 5, Issue 1, June, pp:59-77 The online version of this article can be found at: http://revistaromaneasca.ro Published by: Lumen Publishing House On behalf of: Lumen Research Center in Social and Humanistic Sciences Aspecte ale ceramicii antichităţii pe teritoriul României: de la olăria profană la cea paleocreştină/ Aspects of Ancient Ceramics in Romania: from Secular to Paleo-Christian Pottery 1 Ioana-Iulia OLARU Abstract In the two border provinces – Dacia Traiana and Scythia Minor – ceramic pots prove the spreading of the Roman Empire’s art on the territory of our country today. One of the debated problems of the present paper is the propagandistic importance of this field of ornamental arts which, more easily and more rapidly than sculpture and architecture, brought the Roman features in all corners of the conquered world. Forms and decorations, and even their presence in the provinces was a proof of the existence of the Roman way of living in that area, in connection with the autochthonous basis and then, a proof of the spreading of the new religion, Christianity. Moreover, the present paper records the general aspects of pottery, and also the evolution of the technique used (from the procedures through which common pottery was used, to those of obtaining luxury ceramics – terra sigilata, terra estampata), but also the evolution of forms and their decor, from amphorae and big cley pots with two lugs, to cups and plates.