Reconstructing the Lenaia
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Who Was Protagoras? • Born in Abdêra, an Ionian Pólis in Thrace
Recovering the wisdom of Protagoras from a reinterpretation of the Prometheia trilogy Prometheus (c.1933) by Paul Manship (1885-1966) By: Marty Sulek, Ph.D. Indiana University Lilly Family School of Philanthropy For: Workshop In Multidisciplinary Philanthropic Studies February 10, 2015 Composed for inclusion in a Festschrift in honour of Dr. Laurence Lampert, a Canadian philosopher and leading scholar in the field of Nietzsche studies, and a professor emeritus of Philosophy at IUPUI. Adult Content Warning • Nudity • Sex • Violence • And other inappropriate Prometheus Chained by Vulcan (1623) themes… by Dirck van Baburen (1595-1624) Nietzsche on Protagoras & the Sophists “The Greek culture of the Sophists had developed out of all the Greek instincts; it belongs to the culture of the Periclean age as necessarily as Plato does not: it has its predecessors in Heraclitus, in Democritus, in the scientific types of the old philosophy; it finds expression in, e.g., the high culture of Thucydides. And – it has ultimately shown itself to be right: every advance in epistemological and moral knowledge has reinstated the Sophists – Our contemporary way of thinking is to a great extent Heraclitean, Democritean, and Protagorean: it suffices to say it is Protagorean, because Protagoras represented a synthesis of Heraclitus and Democritus.” Nietzsche, The Will to Power, 2.428 Reappraisals of the authorship & dating of the Prometheia trilogy • Traditionally thought to have been composed by Aeschylus (c.525-c.456 BCE). • More recent scholarship has demonstrated the play to have been written by a later, lesser author sometime in the 430s. • This new dating raises many questions as to what contemporary events the trilogy may be referring. -
ATHENIAN Make Up
The Athenian Institution of the Khoregia The Chorus, the City and the Stage Peter Wilson University of Warwick The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge , UK http://www.cup.cam.ac.uk West th Street, New York, -, USA http://www.cup.org Stamford Road, Oakleigh, Melbourne , Australia © Cambridge University Press This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge 1 Typeset in Bembo ⁄2/ [] A catalogue record for this book is available from the British Library hardback Contents List of illustrations page x Preface xiii List of abbreviations xiv Introduction Part I THE INSTITUTION Private wealth for public performance A cultural revolution? Festival leitourgiai Serving Dionysos: the City Dionysia Processional leitourgiai: place and service in the city The Lenaia Anthesteria Service for Apollo Dancing for Hephaistos and Prometheus? Panathenaia Other services An ‘international’ khoregia ‘Whoever honours the gods best with khoroi are the best in war . .’ Organisation and operation The city and its khoregoi Appointment After nomination Poets, patrons and the polis The tasks of the khoregos vii In the khoregeion Recruitment Civic purity Training Materials of performance The politics -
Greek and Roman Mythology and Heroic Legend
G RE E K AN D ROMAN M YTH O LOGY AN D H E R O I C LE GEN D By E D I N P ROFES SOR H . ST U G Translated from th e German and edited b y A M D i . A D TT . L tt LI ONEL B RN E , , TRANSLATOR’S PREFACE S Y a l TUD of Greek religion needs no po ogy , and should This mus v n need no bush . all t feel who ha e looked upo the ns ns and n creatio of the art it i pired . But to purify stre gthen admiration by the higher light of knowledge is no work o f ea se . No truth is more vital than the seemi ng paradox whi c h - declares that Greek myths are not nature myths . The ape - is not further removed from the man than is the nature myth from the religious fancy of the Greeks as we meet them in s Greek is and hi tory . The myth the child of the devout lovely imagi nation o f the noble rac e that dwelt around the e e s n s s u s A ga an. Coar e fa ta ie of br ti h forefathers in their Northern homes softened beneath the southern sun into a pure and u and s godly bea ty, thus gave birth to the divine form of n Hellenic religio . M c an c u s m c an s Comparative ythology tea h uch . It hew how god s are born in the mind o f the savage and moulded c nn into his image . -
Epigraphic Bulletin for Greek Religion 2009 (EBGR 2009)
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 25 | 2012 Varia Epigraphic Bulletin for Greek Religion 2009 (EBGR 2009) Angelos Chaniotis Electronic version URL: http://journals.openedition.org/kernos/2117 DOI: 10.4000/kernos.2117 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 26 October 2012 Number of pages: 185-232 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, « Epigraphic Bulletin for Greek Religion 2009 », Kernos [Online], 25 | 2012, Online since 20 November 2014, connection on 15 September 2020. URL : http://journals.openedition.org/ kernos/2117 Kernos Kernos 25(2012),p.185-232. Epigraphic Bulletin for Greek Religion 2009 (EBGR 2009) The 22nd issue of the Epigraphic Bulletin for Greek Religion presents a selection of the epigraphicpublicationsof2009andsomeadditionstoearlierissues.Followingthepractice ofthemostrecentissues,emphasiswasplacedonthepresentationofnew corporaand editions of new texts, rather than on summarizing books or articles that use epigraphic material.Duetodemandingresearchandadministrativeduties,thisyearIhavebeenunable tocompletethesurveyofjournalsontime.Inordertoavoiddelaysinthepublicationof Kernos , I could only present part of 2009’s publications. This issue contains several very interestingnewepigraphicfinds.Iwouldliketohighlightthenewfragmentsthathavebeen addedtothephilosophicalinscriptionofDiogenesofOinoanda( 65 ).Theymakepossible thereconstructionofalargepassage,inwhichtheEpicureanphilosopherrejectstheidea -
Greek Cultures, Traditions and People
GREEK CULTURES, TRADITIONS AND PEOPLE Paschalis Nikolaou – Fulbright Fellow Greece ◦ What is ‘culture’? “Culture is the characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts […] The word "culture" derives from a French term, which in turn derives from the Latin "colere," which means to tend to the earth and Some grow, or cultivation and nurture. […] The term "Western culture" has come to define the culture of European countries as well as those that definitions have been heavily influenced by European immigration, such as the United States […] Western culture has its roots in the Classical Period of …when, to define, is to the Greco-Roman era and the rise of Christianity in the 14th century.” realise connections and significant overlap ◦ What do we mean by ‘tradition’? ◦ 1a: an inherited, established, or customary pattern of thought, action, or behavior (such as a religious practice or a social custom) ◦ b: a belief or story or a body of beliefs or stories relating to the past that are commonly accepted as historical though not verifiable … ◦ 2: the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction ◦ 3: cultural continuity in social attitudes, customs, and institutions ◦ 4: characteristic manner, method, or style in the best liberal tradition GREECE: ANCIENT AND MODERN What we consider ancient Greece was one of the main classical The Modern Greek State was founded in 1830, following the civilizations, making important contributions to philosophy, mathematics, revolutionary war against the Ottoman Turks, which started in astronomy, and medicine. -
Rejection and Integration: State Reactions to the Evolution of Dionysian Mystery Cult In
Rejection and Integration: State Reactions to the Evolution of Dionysian Mystery Cult in Greece and Rome by Andrew Noakes A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Arts in Classical Studies Waterloo, Ontario, Canada, 2019 © Andrew Noakes 2019 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This thesis examines the integration of Dionysian mystery cults into the state religions of Greek polis and the Roman Republic. The cults are often portrayed as controversial and immoral in myth and literature, but the official reactions of various ancient city states never restricted the cult’s rituals or showed any concern over moral degeneracy. Rather, official reactions from the state pertained solely to leadership and organization of the cults. This thesis proposes that the reason for this is that Dionysian mystery cults provided an opportunity for women to obtain leadership, authority, and self definition through a means that was usually restricted to only a small number of women who obtained official state priesthoods. Therefore integration of the cults and restriction on leadership was the most common reaction, with some allowances still made for the cults to exist in private forms. When this opportunity for leadership, authority and self definition was opened up to men, as in the case of the Roman Bacchanalia, the state reacted much more harshly since the cult now provided a social structure that undermined those of the Roman Republic. -
Defining Orphism: the Beliefs, the Teletae and the Writings
Defining Orphism: the Beliefs, the teletae and the Writings Anthi Chrysanthou Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Languages, Cultures and Societies Department of Classics May 2017 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. I This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Anthi Chrysanthou. The right of Anthi Chrysanthou to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. II Acknowledgements This research would not have been possible without the help and support of my supervisors, family and friends. Firstly, I would like to express my sincere gratitude to my supervisors Prof. Malcolm Heath and Dr. Emma Stafford for their constant support during my research, for motivating me and for their patience in reading my drafts numerous times. It is due to their insightful comments and constructive feedback that I have managed to evolve as a researcher and a person. Our meetings were always delightful and thought provoking. I could not have imagined having better mentors for my Ph.D studies. Special thanks goes to Prof. Malcolm Heath for his help and advice on the reconstruction of the Orphic Rhapsodies. I would also like to thank the University of Leeds for giving me the opportunity to undertake this research and all the departmental and library staff for their support and guidance. -
GREEK RELIGION Walter Burkert
GREEK RELIGION Walter Burkert Translated by John Raffan r Harvard University Press Cambridge, Massachusetts THINGS’ ANIMAL SACRIFICE II t . I ‘WORKING SACRED 55 diverted activity for the apathy which remains transfixed in reality; it lays claim to the highest seriousness, to the absolute. II When considered from the point of view of the goal, ritual behaviour appears as magic. For a science of religion which regards only instrumental 4 since acts action as meaningful, magic must be seen as the origin of religion, Ritual and Sanctuary which seek to achieve a given goal in an unclear but direct way are magical. The goal then appears to be the attainment of all desirable boons and the elimination of possible impediments: there is rain magic, fertility magic, love magic, and destructive magic. The conception of ritual as a kind of language, however, leads beyond this constraining artifice; magic is present only insofar as ritual is consciously placed in the service of some end — which may then undoubtedly affect the form of the ritual. Religious ritual is given as a collective institution; the individual participates within the framework of social communication, with the strongest motivating force being the need not in the study of religion which came to be generally acknowledged to stand apart. Conscious magic is a matter for individuals, for the few, and An insight are more important and end of the last century is that rituals is developed accordingly into a highly complicated pseudo-science. In early towards the ancient religions than are instructive for the understanding of the Greece, where the cult belongs in the communal, public sphere, the more is no longer seen in myths.’ With this recognition, antiquity importance of magic is correspondingly minimal. -
Aletheia: the Orphic Ouroboros
Edith Cowan University Research Online Theses : Honours Theses 2020 Aletheia: The Orphic Ouroboros Glen McKnight Edith Cown University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Classics Commons, Philosophy Commons, and the Poetry Commons Recommended Citation McKnight, G. (2020). Aletheia: The Orphic Ouroboros. https://ro.ecu.edu.au/theses_hons/1541 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1541 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Aletheia: The Orphic Ouroboros Glen McKnight Bachelor of Arts This thesis is presented in partial fulfilment of the degree of Bachelor of Arts Honours School of Arts & Humanities Edith Cowan University 2020 i Abstract This thesis shows how The Orphic Hymns function as a katábasis, a descent to the underworld, representing a process of becoming and psychological rebirth. -
Wandering Poets and the Dissemination of Greek Tragedy in the Fifth
Wandering Poets and the Dissemination of Greek Tragedy in the Fifth and Fourth Centuries BC Edmund Stewart Abstract This work is the first full-length study of the dissemination of Greek tragedy in the earliest period of the history of drama. In recent years, especially with the growth of reception studies, scholars have become increasingly interested in studying drama outside its fifth century Athenian performance context. As a result, it has become all the more important to establish both when and how tragedy first became popular across the Greek world. This study aims to provide detailed answers to these questions. In doing so, the thesis challenges the prevailing assumption that tragedy was, in its origins, an exclusively Athenian cultural product, and that its ‘export’ outside Attica only occurred at a later period. Instead, I argue that the dissemination of tragedy took place simultaneously with its development and growth at Athens. We will see, through an examination of both the material and literary evidence, that non-Athenian Greeks were aware of the works of Athenian tragedians from at least the first half of the fifth century. In order to explain how this came about, I suggest that tragic playwrights should be seen in the context of the ancient tradition of wandering poets, and that travel was a usual and even necessary part of a poet’s work. I consider the evidence for the travels of Athenian and non-Athenian poets, as well as actors, and examine their motives for travelling and their activities on the road. In doing so, I attempt to reconstruct, as far as possible, the circuit of festivals and patrons, on which both tragedians and other poetic professionals moved. -
Apokatanidis Katerina.Pdf (669.1Kb)
Gender Interplay in Nonnos’ Dionysiaka The cases of Deriades and Aura by Katerina Apokatanidis A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in Classical Studies Waterloo, Ontario, Canada, 2018 © Katerina Apokatanidis 2018 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This thesis presents the relation between the gendered language of Nonnos and the ironic undertones he employs to describe two main plot points in the Dionysiaka. I focus on Dionysos’ battle with Deriades, the Indian king, and Aura, the titan goddess of the breeze. In my first section, I argue that the irony employed to describe the death of Deriades is based on misperceptions of gender identity as he understands the world. Due to his fixity on the masculine extreme of the gender spectrum, Deriades has created a skewed view of the world which led to his demise by the gender-fluid Dionysos. His false perception is reflected in the text when Athena disguises herself as Morrheus, Deriades’ son-in-law, and comes to taunt him for fleeing the battle with Dionysos. Athena is herself a gender-fluid goddess as the masculine virgin goddess of Truth/Wisdom. Her disguise symbolises the loss of true understanding. For my second section, I examine the implications of the total loss of gender identity as experienced by Aura. -
Greek Inscriptions Tragedies Presented at the Lenaia of 364/3 B.C
GREEK INSCRIPTIONS TRAGEDIES PRESENTED AT THE LENAIA OF 364/3 B.C. (PLATE 62) T 5HE oaO8-KcaXat,the inscribed lists of plays performed at the City Dionysia and Lenaia, are an important source of information concerning the Attic theater; preserving as they do the names of poets, plays, and leading actors in yearly entries, they are particularly useful when literary sources fail.' A new fragment of this interesting series has recently come to light in the excavations of the Athenian Agora.2 8 (Plate 62, a). Fragment of Hymettian marble, broken all around and at the back, found on June 18, 1970, built into a modern cellar wall on the north slope of the Areopagus (P 20-21). Height, 0.16 m.; width, 0.15 m.; preserved thickness, 0.105 m. Height of letters, 0.004-0.008 m. Inv. No. I 7151 [1uWE:] 'H(bat[o-ri'v] NON-ITOIX. [NL]1<,0axos [rpi:] 'A,yvjuvnt T[-] VTE v5ro: 'Hbato-riw[ EvKa] 5 e'i TqLjOKpTaOV[s - - -] a. 364/3 a. [-I-t 'Ovoriovl 'EKa[--] [I- -Bg VVE:Ap:q6s EEo8&pt81q3 8Ev': MlqiaL (IacEOovT[L] 10 [-]vos VrE: Av8poordW[mqg] KXEcaiVETOr[ pi:] 'TlvwArqt0 [- -] 1 I.G., II2, 2319-2323. A. Pickard-Cambridge (revised by J. Gould and D. M. Lewis), The Dramatic Festivals of Athens2, 1968, pp. 25-42, 72-73, 107-111, for the most recent comprehensive discussionsof both the Lenaia and the AtSaaKaXtat. 2I am indebted to Professor T. L. Shear, Jr., Director of the Agora Excavations, for his guidance as well as permission to work on the stone.