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Cambridge University Press 978-0-521-12557-4 - Looking at Greek Art Mark D. Stansbury-O’Donnell Index More information oooooooooooo Index abstract, 22, 26, 30, 35, 36 assimilation, 215 acculturation, 202 Assyria, 204, 211 adaptation, 203 Athanodoras, Hagesandros, and Polydoros (artists), 45 adult, 191 Athens, 30, 33, 44, 68, 95, 104–106, 114, 118, 119, Africa and Africans, 199.Seealsoethnicity 132, 148, 181, 190, 202 agalma, 138, 140, 162 Acropolis, 138, 151 agency (theory), 149–154, 189–190 Agora, 40, 49, 134–136 agenda, 98, 106, 131–133 Erechtheion, 119–120, 124, 126 agent (agency term), 150, 151, 153–154, Kerameikos, 122, 138 189 Parthenon, 36–39, 70–72, 113, 121, 131, 157 agora (context), 100, 117, 134–136 attribute, 59, 62, 101, 150 aidos (modesty), 174, 179–181, 182 attribution, 24, 26–27, 29, 30, 50, 218 Aigina, Temple of Aphaia, 40–41 Alexandria (Egypt), 61, 63, 93, 161, 208 Barthes, R., 77, 79 Alkman, 60, 180, 181 Baxandall, M., 116 Amasis, 200–201 Beazley, J. D., 23, 26, 28, 29, 54 anakalypsis, 177, 186 behavior, 137, 155, 171–172, 174, 177, 179 analysis, iconographical, 59–70, 77 Bell, C., 155 anathema, 138 Berlin Painter, 23, 28, 29, 37, 50, 125 Andokides Painter, 30–33, 35 biography, artistic, 50–54 andron, 146, 185 Boardman, J., 104, 162 Antonaccio, C., 202 brand identity, 128 Antonymy, 89, 234 Brinkmann, V., 33 aparche (first-fruit), 138 bronze, 23, 112, 115 Appadurai, A., 164 Archelaos of Priene (artist), 60 Cantarella, E., 191 Aristotle, 173, 193 Carpenter, T., 214 Arsinoe¨ II, 208–209 catalyst, 79, 80 Arsinoe¨ III, 160 center-periphery, 202, 214 artist (agency term), 150–153, 189 ceramics, 112, 113 arts, decorative or minor, 48, 216 chronology, 5, 20, 30–36, 46, 47 arts, fine, 49, 216 absolute, 30, 34 assemblage, 97 relative, 30 assemblages, 202 color, 21–24, 33, 40 249 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-12557-4 - Looking at Greek Art Mark D. Stansbury-O’Donnell Index More information 250 ooo Index commission, 94, 114–116, 124, 130, 189 erastes, 192, 193 commodity, 164–165, 177 eromenos, 192, 193 commodity candidacy, 164, 166 ethnicity, 197–201, 212 commodity context, 164, 166 ethnocentrism, 199, 200 commodity phase, 164, 166–167 ethos, 39 ex-commodity, 165 etic, 197 comparison, 26, 27–29, 30–35, 47, 90 Etruria and Etruscan art, 20, 29, 98, 105, 117, 125, composition, 21, 22, 46 187, 190, 200 Connelly, J. B., 184 exchange (object biography), 164–166 context, 17–18, 93, 94, 98–100, 103, 133–149, Exekias, 50, 68, 70, 198, 200–201 167–168, 218 export (of art), 104, 106, 117, 125, 129, 187 context, archaeological, 99, 148–149 contrapposto, 37, 51 facilities (for production), 113, 130 copies, 46, 51, 134, 212 familiarization, 215 Roman of Greek originals, 46, 93, 94 feminism and feminist analysis, 180–191, 207 Corinth, 128, 148, 164, 202, 217, 218 Ferrari, G., 191 Stele Shrine A, 140–141 festivals, 155, 158 courtship, 191, 192 findspot, 20, 98, 148, 201 cultural poetics, 154, 197 foreshortening, 28, 38, 42, 100 cup by Douris (Figure 3), 17–18, 27–30, 66–68, form, 21, 26, 27, 51, 59, 132 150–151, 190 elements, 22, 23, 26–27, 59, 89, 196 qualities, 22–24, 26 dedication.Seeoffering relationships, 22–24, 26, 30 dekate (tithe), 132, 138, 151 formal analysis, 21–24, 37 Delphi, 1, 64, 102–103, 115, 120, 132 Francis, E., 35 Siphnian Treasury (Figure 1), 1–7, 33–36, 63–65, Freud, S., 171–172 68, 88, 102–103, 132–133, 194–195 functions, paradigmatic, 80, 89 deposits (gift), 140, 154 functions, syntagmatic, 79 description, 21, 47–50 funerals (context), 96, 156, 158–159, 163, 195–196. description, pre-iconographic, 58, 59, 60–62, 63, 65 See also grave and graves destination (object biography), 164, 166 diffusion, 202 Gadamer, H.-G., 93 display, 8–9, 140 Gaze and gaze, 172–177, 179, 183, 190 distribution, 107, 111, 117–118, 125, 130, 161, 166, Geertz, C., 154 187 Gell, A., 149–150, 154, 189 itinerant, 118 gem, 42, 146 point-to-point, 118 genre scenes, 82 diversion (object biography), 165 gestures, 76, 144 domestication, 203, 206, 208, 215 gifts, 116, 132, 138, 192 domination, symbolic, 203, 208, 209, 215 Gill, D. W., 126 Doryphoros, 37, 51–52 grave and graves, 47, 117, 141–144, 154, 190, 214 Douris, 17, 28, 29, 37, 50, 68, 184, 187, 191.Seealso goods, 98, 128, 141–143, 148, 166–167, 196 cup by Douris (Figure 3) marker, 120–125, 143–144, 158–159, 196 drachma, 119, 120, 124, 125, 126 offerings, duplication, 89 Greenblatt, S., 155 D’Alleva, A., 130, 201 Group E, 65, 66 guarantor, 120 Eagleton, T., 173 Gunter, A., 212 Eco, U., 101 Gyges (king of Lydia), 115, 133 Egypt and Egyptian art, 200, 208–210 gynaikonitis, 187 ekphrasis, 101 elite and elitist (social group), 87, 133, 170, 184, 194, Harmodios and Aristogeiton.SeeTyrannicides 196, 203, 206–207, 218 Heidegger, M., 93 emic, 197, 198 hermeneutic circle, 93 emulation, 208, 215 hermeneutics, 93–94, 101 entropy, 88 Herodotos, 6, 34, 104, 115–116, 132, 197 Epidauros, 121 heteira, 181 Epiktetos, 50 heterosexuality, 172, 190.Seealsoidentity, sexual © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-12557-4 - Looking at Greek Art Mark D. Stansbury-O’Donnell Index More information Index ooo 251 history, 6–7, 20 limestone, 111, 119 narratives of, 6, 14, 16, 36–39, 40–42 liminal.Seeritual, transition homosexuality, 190.Seealsoidentity, sexual line, 21, 22, 24–28 houses and households, 113, 144–149, 181, loutrophoros, 157–158 185–189 Lysippos, 52, 178 hybridity, 201, 202 hybridization, 203, 206, 215 macro-propositions, 101 marble, 23, 33, 35, 36, 111, 115, 132 iconography, 58–60, 63, 72, 81, 88, 93, 95, 102, 103, marginalization, 209, 215 165, 180–181, 184, 191–192, 218 market (place), 117, 118, 134 ideal and idealization, 22, 26, 37, 51, 60, 74, 92, 124, markets and marketplace (economics), 113, 114, 175 117–119, 124, 125, 129, 141, 190 identity, 18, 171, 180 marriage, 139, 156, 157 identity, class and civic, 133, 194–197, 203, 218.See Marx, K., 111 also elite and elitist (social group); middling Marxism, 106, 110–118, 125, 130–131, 149, 187–190, (group) 193 identity, gender, 172, 174, 180, 183, 187, 191, 192 master-apprentice, 114 identity, personal, 146, 156 materials (artistic), 111–112, 116, 117, 130, 217.See identity, sexual, 190–194.Seealsoheterosexuality and also medium and media (artistic) homosexuality meaning, 17, 21, 58, 98 identity, social, 166, 175 multiplicity, 72, 82, 93, 97–99, 103, 163, 189 ideology, 107, 110, 131–132, 187 medium and media (artistic), 21, 23, 28, 33, 34, 36, imitation, 203 49, 94, 99, 111, 112 index, 86, 89 merchants and traders, 115, 117–118, 125 index (agency).Seeindex-artifact (agency) metamorphosis (object biography), 164, 218 index (structural analysis), 80 metaphor, 78, 79, 132 index-artifact (agency), 150–151, 153, 189–190 metics, 72, 114, 119, 200 influence, 203, 210, 212 metonym, 78, 79, 132, 195 informant, 80, 89 middling (group), 133, 195 information theory, 88 Miller, M., 202–203 innovation, 46, 70, 114, 124, 128, 196 mimesis, 39, 59, 218 inscriptions, 20, 28, 45, 50, 62, 64, 68, 88, 100, 101, mimicry, 201–202, 203 102, 135, 138, 144, 148, 151, 153, 178, 217, 218 mirror, caryatid (Figure 2), 8–9, 37–39, 42, 59–60, 78, interpretation, iconological, 59–60, 62–65, 77 148–149, 174–176 Italy, 98, 125 mirrors (general), 181–183 modesty.Seeaidos (modesty) jewelry, 146 money and moneybag/purse, 188–189, 192 Johnston, A. W., 125 Morgan, C., 197 Morris, I., 133 Keesling, C., 138 motif.Seeform, elements Kleophrades Painter, 81 motivation (ownership of art), 94 Kopytoff, I., 163 museum, 8, 9–16, 54, 140 kore, 42, 60, 138, 141, 162 kouros, 141 names (of artists), 119 Kritios and Nesiotes, 41, 134 narrative, 63, 79, 80, 82, 86, 92, 103 Kypselos, Chest of, 216–218 cyclical, 68 monoscenic, 65 labels, 8, 12, 16, 20 panoramic, 68 labor, 50, 113–116, 120, 124, 128, 130 progressive, 68 Lacan, J., 171, 172, 178 synoptic, 65 language, visual, 58, 72, 88, 92, 101, 132 universal, 86 Lear, A., 191 naturalism and naturalistic, 22, 26, 28, 35, 37, 42, 47, Lefkowitz, M., 96 51, 52 level, paradigmatic, 77, 78, 92, 200 Near East and Near Eastern art, 128, 204, 210, 218 level, symbolic, 77 need, social, 203 level, syntagmatic, 77 Neer, R., 132–133, 195 Lewis, S., 96, 187 neo-archaic, 42 libation, 156, 161 neutralization, 215 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-12557-4 - Looking at Greek Art Mark D. Stansbury-O’Donnell Index More information 252 ooo Index nexus, art, 150, 153, 189 Priene, 144 nucleus, 79–82, 88, 101 priestess, 161, 181, 184 nude and nudity, 46, 74, 77, 78, 92, 181–183, processions, 60, 72, 155, 156, 163 185 production (of art), 107, 111–114, 117, 128, 131, 132 object biography, 163–167, 218 propaganda, 131, 163 obol, 125, 126 proportions, 22, 24, 32, 37, 43, 44, 47, 51 offering, 60, 128, 138–141, 148, 154, 164, 184, 217, prothesis, 158, 163, 195 218 prototype (agency term), 150, 153, 189 votive, 94, 138, 152, 154, 155, 161 psyche, 173–174 Olympia, 35, 137, 216, 217 psychoanalysis, 171–173, 183–184 Temple of Zeus, 35, 39, 136–138 purchaser (of art), 98, 114, 116, 151, 189 Olympics, 178, 195 Pythagoras, 52 Olynthos, 144–146 Python, 50 Osborne, R., 151, 153 over-the-counter, 114, 115, 130 quality, 128 Panathenaia, 70, 155, 157 Rasmussen, T., 128 Panofsky, E., 58 reader response, 101 parody, 91–92 reading (images and narrative), 65, 76, 83 pathos, 39 realism and realistic, 22, 26, 37 patient (agency term), 150, 189 recipient (agency term), 150–151, 153, 189–190 patron, 114, 120, 124, 128, 130–132, 140, 141, 151, redundancy, 89, 234 196, 212 reduplication, 89 patronage, 93, 111, 114–115, 117 refinement (of materials), 112 Pausanias, 5, 51, 216, 217–218 region (style), 29–30, 33, 36 payments, 119–121 relationships, social, 83 pederasty, 191 repetition, 85, 88–92 Peirce, C.
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  • The Greek Youthening: Assessing the Iconographic Changes Within Courtship During the Late Archaic Period

    The Greek Youthening: Assessing the Iconographic Changes Within Courtship During the Late Archaic Period

    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2015 The Greek Youthening: Assessing the Iconographic Changes within Courtship during the Late Archaic Period Jared Alan Johnson University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Feminist, Gender, and Sexuality Studies Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Johnson, Jared Alan, "The Greek Youthening: Assessing the Iconographic Changes within Courtship during the Late Archaic Period. " Master's Thesis, University of Tennessee, 2015. https://trace.tennessee.edu/utk_gradthes/3334 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jared Alan Johnson entitled "The Greek Youthening: Assessing the Iconographic Changes within Courtship during the Late Archaic Period." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in Anthropology. Merle K. Langdon, Major Professor We have read this thesis and recommend its acceptance: Gregor A. Kalas, David G. Anderson Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) The Greek Youthening: Assessing the Iconographic Changes within Courtship during the Late Archaic Period A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Jared Alan Johnson May 2015 ii Acknowledgements I am pleased to thank several individuals who helped me with this thesis.

  • The Death of Sarpedon: Workshops and Pictorial Experiments

    The Death of Sarpedon: Workshops and Pictorial Experiments Athena Tsingarida A ttic vase-paintings depicting the young Lycian prince the development and transmission of a specific subject Sarpedon, slain by Patroklos and carried away by the matter, “The Death of Sarpedon”, helps confirm work- twins Hypnos and Thanatos, have been widely studied. shop connections deduced mainly on stylistic grounds, The theme occurs on a handful of vases dating to the Late while also suggesting further associations between vase- Archaic and Early Classical periods and becomes the painters or studios, not primarily related in terms of prototype for later depictions on white-ground lekythoi draught smanship. where the corpse of an unidentified male or female is sub- stituted for the body of Sarpedon. Several scholars have dealt with the development, chronology and artistic in- The Death of Sarpedon: A Limited Corpus ventiveness of the subject,1 and some recent publications also focus on various iconological aspects.2 In this paper, Sarpedon is a rare subject in Greek art. The hero is de- I would like to discuss the origin, treatment and diffusion picted fighting in battle on the Siphnian Treasury at Del- of the scene on the corpus of vases dated to ca. 525 – 470 phi and on a few Corinthian and Attic vases. The earliest B. C. for the light it might shed on workshop organiza- known example of the removal of Sarpedon’s body from tion. the battlefield is a red-figure cup by Euphronios which In his remarkable study on Exekias’ interest in Trojan was followed a few years later by Euxitheos’ monumen- scenes, J.