Thucydides, "Funeral Oration of Pericles"
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The History of Egypt Under the Ptolemies
UC-NRLF $C lb EbE THE HISTORY OF EGYPT THE PTOLEMIES. BY SAMUEL SHARPE. LONDON: EDWARD MOXON, DOVER STREET. 1838. 65 Printed by Arthur Taylor, Coleman Street. TO THE READER. The Author has given neither the arguments nor the whole of the authorities on which the sketch of the earlier history in the Introduction rests, as it would have had too much of the dryness of an antiquarian enquiry, and as he has already published them in his Early History of Egypt. In the rest of the book he has in every case pointed out in the margin the sources from which he has drawn his information. » Canonbury, 12th November, 1838. Works published by the same Author. The EARLY HISTORY of EGYPT, from the Old Testament, Herodotus, Manetho, and the Hieroglyphieal Inscriptions. EGYPTIAN INSCRIPTIONS, from the British Museum and other sources. Sixty Plates in folio. Rudiments of a VOCABULARY of EGYPTIAN HIEROGLYPHICS. M451 42 ERRATA. Page 103, line 23, for Syria read Macedonia. Page 104, line 4, for Syrians read Macedonians. CONTENTS. Introduction. Abraham : shepherd kings : Joseph : kings of Thebes : era ofMenophres, exodus of the Jews, Rameses the Great, buildings, conquests, popu- lation, mines: Shishank, B.C. 970: Solomon: kings of Tanis : Bocchoris of Sais : kings of Ethiopia, B. c. 730 .- kings ofSais : Africa is sailed round, Greek mercenaries and settlers, Solon and Pythagoras : Persian conquest, B.C. 525 .- Inarus rebels : Herodotus and Hellanicus : Amyrtaus, Nectanebo : Eudoxus, Chrysippus, and Plato : Alexander the Great : oasis of Ammon, native judges, -
Teachers' Pay in Ancient Greece
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers from the University Studies series (The University of Nebraska) University Studies of the University of Nebraska 5-1942 Teachers' Pay In Ancient Greece Clarence A. Forbes Follow this and additional works at: https://digitalcommons.unl.edu/univstudiespapers Part of the Arts and Humanities Commons This Article is brought to you for free and open access by the University Studies of the University of Nebraska at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers from the University Studies series (The University of Nebraska) by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Teachers' Pay In Ancient Greece * * * * * CLARENCE A. FORBES UNIVERSITY OF NEBRASKA STUDIES Ma y 1942 STUDIES IN THE HUMANITIES NO.2 Note to Cataloger UNDER a new plan the volume number as well as the copy number of the University of Nebraska Studies was discontinued and only the numbering of the subseries carried on, distinguished by the month and the year of pu blica tion. Thus the present paper continues the subseries "Studies in the Humanities" begun with "University of Nebraska Studies, Volume 41, Number 2, August 1941." The other subseries of the University of Nebraska Studies, "Studies in Science and Technology," and "Studies in Social Science," are continued according to the above plan. Publications in all three subseries will be supplied to recipients of the "University Studies" series. Corre spondence and orders should be addressed to the Uni versity Editor, University of Nebraska, Lincoln. University of Nebraska Studies May 1942 TEACHERS' PAY IN ANCIENT GREECE * * * CLARENCE A. -
Niobid Painter, Argonaut Krater
• Cleanthes of Corinth- first outlines • Cimon of Cleonae – katagrafa (engraving) Foreshortening Effects of Gravity Veins, wrinkles Cleanthes of Corinth may have done things like this! Cimon of Cleonae might have done something like This. Polygnotus of Thasos Ca. 440 B.C. in Athens Diaphanous drapery for women Several levels used- large and majestic Beginnings of expression and teeth shown Large and majestic plus foreshortening used 4 color- white, red, black, yellow Figures at top not smaller- no perspective Niobid Painter, Argonaut Krater Agatharkos of Samos • Scaenographia for Aeschylos • Perspective and single point perspective • 430 B.C. • Centrum constitutum centro loco-Vitruvius Single Vanishing Point Roman Theatrical Image, Pompeii Heroon at Gjolbaschi-Trysa in Lycia New Kind of Perspective? Zeuxis of Heraclea • From South Italy but works at Ephesus • The Ionic School- what was it? • Use actual models • Tempera on wood panels • Exaggerated heads and limbs • Rich, haughty, elegant monogrammed robe • Dies laughing at own amusing painting! Parrhasios of Ephesus • The great rival of Zeuxis • Psychische- nuance, emotion • Dainty and rounded • Later becomes Athenian citizen • 4th century B.C. • Claims descent from Apollo!! • Painter as superstar! The Sikyon School • Precision, linearity, clarity, sobriety • Eupompos of Sikyon • Pamphilos of Macedonia • Pausias- Master of Encaustic • Cera Punica- white wax mixed with oil • Heat and burn onto surface Encaustic • Encaustic is a beeswax based paint that is kept molten on a heated palette. It is applied to a surface and reheated to fuse the paint into a uniform enamel-like finish. The ancient Greeks developed encaustic over 2,000 years ago. The word encaustic derives from the Greek word enkaustikos, meaning “to heat” or “to burn”. -
Understanding Art in Antwerp Classicising the Popular
94924_Ranmakers GSCC vwk 12-12-2011 09:04 Page iii Understanding Art in Antwerp Classicising the Popular, Popularising the Classic (1540 – 1580) EDITED BY Bart Ramakers PEETERS LEUVEN - PARIS - WALPOLE, MA 2011 CONTENTS Preface and Acknowledgements ix Understanding Art in Antwerp. An Introduction Bart Ramakers xi Contributors xxiii Session I Lost in Translation? Thinking about Classical and Vernacular Art in Antwerp, 1540-1580 Joanna Woodall 1 After the Flood. Luxurious Antwerp and Antiquity David Rijser 25 Session II Reformulating St Luke. Frans Floris on Art and Diligence Annette de Vries 37 The Annexation of the Antique. The Topic of the Living Picture in Sixteenth-Century Antwerp Caecilie Weissert 53 St Luke’s Diligence Elizabeth Honig 69 Session III Classical Architecture and the Communion Debate. The Iconography of Suggestion Koenraad Jonckheere 75 Prints as Perfect Means of Communication. Allegorical Prints with Moral and Religious Messages Invented by Willem van Haecht Yvonne Bleyerveld 93 vi CONTENTS Visual Pamphleteering and the Invention of its Idiom in Rebellious Antwerp Catrien Santing 109 Session IV Pieter Bruegel and the Art of Vernacular Cultivation Todd M. Richardson 115 For the Illustration of Rhetoric. Cornelis van Ghistele, Virgil and the Ideology of Learned Rhetorijcke Femke Hemelaar 131 Learned Humanist Drama Classicising the Popular Jan Bloemendal 151 Session V Lady Pictura and Lady Rhetorica in Mid-Sixteenth-Century Antwerp. Upgrading Painting and Rhetorijcke by Linking Them to the Liberal Arts Stijn Bussels 157 Mirroring God, Reflecting Man. Shaping Identity Through Knowledge in the Antwerp Plays of 1561 Jeroen Vandommele 173 Rhetoricians as a Bridge Between Learned and Vernacular Culture Hilde de Ridder-Symoens 197 Session VI A Pure Marriage Bed. -
Two Books on Ancient Perspective Illustration Jim Barnes, Architect -- 2Nd August 2011
REVIEW: Two books on ancient Perspective illustration Jim Barnes, Architect -- 2nd August 2011 Alan M.G. Little; Roman Perspective Painting and the Ancient Stage , 1971, ~71 pages. John White; The Birth and Rebirth of Pictorial Space , 1957, Chapter XVI, 36 pages. These are two good books by two very fine researchers; and I recommend them for the study of ancient Greek and Roman perspective illustration. Alan M.G. Little’s career goes back to the 1930s when he received grant funding to research ancient Greek and Roman theater while serving on Harvard’s faculty. His lifetime study in this specialty led to this 1971 publication on Roman painting. Little starts by explaining that prior archaeological expertise sorted the ancient Roman frescos of Pompeii into four epochs, called “Styles”. His book goes on to provide compelling reason to believe that certain Roman frescos, especially during the Second Style epoch, are reproductions of ancient theatrical stage sets. Citing Plutarch’s biography of Alcibiades (c. 450-404 B.C.), Little recites the historical account of theater scenery first being transplanted onto the walls of ancient Athenian homes. We have no surviving Greek wall paintings today, but we know that Roman murals were copied repetitively, the same picture often copied in several places, even among the tiny number of Roman specimens surviving to our modern age. Greek stage set design similarly followed a conservative tradition; a single format was used repeatedly; while only details were varied. Quoting ancient sources, such as Plato’s Republic (c. 380 B.C.), Alan Little shows how the archetypical elements of Greek stage sets appear in Roman murals. -
The Greek Sources Proceedings of the Groningen 1984 Achaemenid History Workshop Edited by Heleen Sancisi-Weerdenburg and Amélie Kuhrt
Achaemenid History • II The Greek Sources Proceedings of the Groningen 1984 Achaemenid History Workshop edited by Heleen Sancisi-Weerdenburg and Amélie Kuhrt Nederlands Instituut voor het Nabije Oosten Leiden 1987 ACHAEMENID HISTORY 11 THE GREEK SOURCES PROCEEDINGS OF THE GRONINGEN 1984 ACHAEMENID HISTORY WORKSHOP edited by HELEEN SANCISI-WEERDENBURG and AMELIE KUHRT NEDERLANDS INSTITUUT VOOR HET NABIJE OOSTEN LEIDEN 1987 © Copyright 1987 by Nederlands Instituut voor het Nabije Oosten Witte Singe! 24 Postbus 9515 2300 RA Leiden, Nederland All rights reserved, including the right to translate or to reproduce this book or parts thereof in any form CIP-GEGEVENS KONINKLIJKE BIBLIOTHEEK, DEN HAAG Greek The Greek sources: proceedings of the Groningen 1984 Achaemenid history workshop / ed. by Heleen Sancisi-Weerdenburg and Amelie Kuhrt. - Leiden: Nederlands Instituut voor het Nabije Oosten.- (Achaemenid history; II) ISBN90-6258-402-0 SISO 922.6 UDC 935(063) NUHI 641 Trefw.: AchaemenidenjPerzische Rijk/Griekse oudheid; historiografie. ISBN 90 6258 402 0 Printed in Belgium TABLE OF CONTENTS Abbreviations. VII-VIII Amelie Kuhrt and Heleen Sancisi-Weerdenburg INTRODUCTION. IX-XIII Pierre Briant INSTITUTIONS PERSES ET HISTOIRE COMPARATISTE DANS L'HIS- TORIOGRAPHIE GRECQUE. 1-10 P. Calmeyer GREEK HISTORIOGRAPHY AND ACHAEMENID RELIEFS. 11-26 R.B. Stevenson LIES AND INVENTION IN DEINON'S PERSICA . 27-35 Alan Griffiths DEMOCEDES OF CROTON: A GREEKDOCTORATDARIUS' COURT. 37-51 CL Herrenschmidt NOTES SUR LA PARENTE CHEZ LES PERSES AU DEBUT DE L'EM- PIRE ACHEMENIDE. 53-67 Amelie Kuhrt and Susan Sherwin White XERXES' DESTRUCTION OF BABYLONIAN TEMPLES. 69-78 D.M. Lewis THE KING'S DINNER (Polyaenus IV 3.32). -
Meet the Philosophers of Ancient Greece
Meet the Philosophers of Ancient Greece Everything You Always Wanted to Know About Ancient Greek Philosophy but didn’t Know Who to Ask Edited by Patricia F. O’Grady MEET THE PHILOSOPHERS OF ANCIENT GREECE Dedicated to the memory of Panagiotis, a humble man, who found pleasure when reading about the philosophers of Ancient Greece Meet the Philosophers of Ancient Greece Everything you always wanted to know about Ancient Greek philosophy but didn’t know who to ask Edited by PATRICIA F. O’GRADY Flinders University of South Australia © Patricia F. O’Grady 2005 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, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Patricia F. O’Grady has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identi.ed as the editor of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington Surrey, GU9 7PT VT 05401-4405 England USA Ashgate website: http://www.ashgate.com British Library Cataloguing in Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask 1. Philosophy, Ancient 2. Philosophers – Greece 3. Greece – Intellectual life – To 146 B.C. I. O’Grady, Patricia F. 180 Library of Congress Cataloging-in-Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask / Patricia F. -
The Scenery of the Greek Stage
THE SCENERY OF THE GREEK STAGE. WHILE most of the dispositions of the ancient Greek theatre have been submitted in recent years to a searching examination, the question as to the scenery used as a background to plays has been somewhat neglected. It seems to me that a fresh enquiry on this particular point may be of service. I must preface this enquiry by a statement of the view which I adopt as to the presence or absence of a raised stage in the Greek theatre, since it is obvious that any theory as to scenery must depend in a great degree upon the solution of the stage question which is adopted. It is quite impossible on this occasion to discuss fully the question whether the place of the actors in Greece was the orchestra or the Xoyelov. I can only say that I assume the latter view to be correct. I think that from the time of Aeschylus onwards the stage, which had at first been a low platform of varying size, grew steadily in height as the part of the actors in the performance grew more important, and their independence of the chorus more complete. And as the stage grew higher it also grew narrower by an obvious necessity, until we have the long narrow stone stage of the Hellenistic age, which exactly corresponds with the assertions of Vitruvius and other ancient authorities. * In the last few months a fresh piece of evidence, which tends strongly to confirm this view, has been brought forward. Mr. Fossum,1 who was engaged in 1891 on behalf of the American School of Athens in excavating the theatre at Eretria, has now declared his conviction that he discovered there remains of the elcricvic\r)/ji,a, a pair of parallel lines of slabs of bluish marble on which the eicicv/c\7)/Aa ran backwards and forwards between the skene' and the proscenium. -
The Pythias Excerpted from Secret History of the Witches © 2009 Max Dashu
The Pythias excerpted from Secret History of the Witches © 2009 Max Dashu I count the grains of sand on the beach and measure the sea I understand the speech of the mute and hear the voiceless —Delphic Oracle [Herodotus, I, 47] In the center of the world, a fissure opened from the black depths of Earth, and waters flowed from a spring. The place was called Delphoi (“Womb”). In its cave sanctuary lived a shamanic priestess called the Pythia—Serpent Woman. Her prophetic power came from a she-dragon in the Castalian spring, whose waters had inspirational qualities. She sat on a tripod, breathing vapors that emerged from a deep cleft in the Earth, until she entered trance and prophesied by chanting in verse. The shrine was sacred to the indigenous Aegean earth goddess. The Greeks called her Ge, and later Gaia. Earth was said to have been the first Delphic priestess. [Pindar, fr. 55; Euripides, Iphigenia in Taurus, 1234-83. This idea of Earth as the original oracle and source of prophecy was widespread. The Eumenides play begins with a Pythia intoning, “First in my prayer I call on Earth, primeval prophetess...” [Harrison, 385] Ancient Greek tradition held that there had once been an oracle of Earth at the Gaeion in Olympia, but it had disappeared by the 2nd century. [Pausanias, 10.5.5; Frazer on Apollodorus, note, 10] The oracular cave of Aegira, with its very old wooden image of Broad-bosomed Ge, belonged to Earth too. [Pliny, Natural History 28. 147; Pausanias 7, 25] Entranced priestess dancing with wand, circa 1500 BCE. -
Athenian Democracy and Popular Tyranny
UC Berkeley UC Berkeley Previously Published Works Title Athenian democracy and popular tyranny Permalink https://escholarship.org/uc/item/4dj5x065 ISBN 9781107130401 Author Hoekstra, K Publication Date 2016-03-24 DOI 10.1017/CBO9781316418024.002 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Athenian Democracy and Popular Tyranny Kinch Hoekstra I An account of popular sovereignty that begins with the fifth century BCE may seem to be off to a false start.1 Foundational works in the history of political thought have taught us that the very notion of sovereignty, and thus of popular sovereignty, emerged from the particular historical circumstances of the early modern era. One might thus believe that fifth-century Greeks could not be discussing popular sovereignty some two thousand years before this concept’s emergence.2 Leading ancient historians and classicists have adopted this view, deeming ‘sovereignty’ a misleadingly anachronistic way of thinking about Athenian democracy in the classical period.3 For the concept of sovereignty seems 1 By agreement, my primary focus is on the fifth century BCE (esp. its second half) and Melissa Lane’s in her contribution is on the fourth. Earlier versions of this chapter were presented at Queen Mary, University of London (Popular Sovereignty Project); Stanford University (Workshop on Ethics and Politics, Ancient and Modern); and UCLA (a combined meeting of the Legal Theory Workshop and the Political Theory Workshop). I am grateful to the audiences on each of these occasions, and for comments from Mark Greenberg, Amanda Greene, Tim Hoekstra, Seth Jaffe, Kathryn Morgan, Seana Shiffrin, and Quentin Skinner. -
Greek Painting and the Challene of Mimesis
CHAPTER 14 Greek Painting and the Challenge of Mimesis̄ Hariclia Brecoulaki A pigeon had grown very thirsty, so she flew from place to place looking for some water to drink. She saw a water jar painted on a wall and thought that it was actually full of water, so she flew right into the wall in order to take a drink. Aesop, Fables 431, The Pigeon and the Painting Introduction: The School of Sicyon, Chrestographiā , and “undecaying beauty” The city of Sicyon, known for centuries for her famous school of arts (Strabo VIII, 6, 23; Plut. Arat. 12), auctioned her public painting collection to pay debts to Rome sometime in the second half of the first century BC (Cic. Ad Att. I, 19.9; 20.4). The paintings were acquired by the Roman aedile Aemilius Scaurus in 58 BC and exhibited at the wooden theater in the Campus Martius (Pliny, NH 35.127). Numerous wooden panels were seized as war booty from Greek cities or purchased to decorate public and private buildings in Rome (Raoul Rochette 1836; Carey 2004; Rouveret 2007a). However, the paintings created by the Sicyonian masters seem to have been the most prized ones. The orator Hortensius paid 114,000 sesterces to buy the Argonauts of Cydias and made a shrine for its display at his villa at Tusculum (Pliny, NH 35.130). Augustus paid the city of Cos a hundred talents to carry Apelles’ legendary Anadyomene off to Rome, where it was dedicated in the Shrine of his father Caesar (Pliny, NH 35.91). Following the conquest of Egypt, he transferred many of Apelles’ paintings, together with the wooden panels that originally decorated Alexander’s funerary cart (Diod. -
Hybrid Monsters
HYBRID MONSTERS IN THE CLASSICAL WORLD THE NATURE AND FUNCTION OF HYBRID MONSTERS IN GREEK MYTHOLOGY, LITERATURE AND ART by Liane Posthumus Thesis presented in partial fulfilment of the requirements for the degree Master of Philosophy in Ancient Cultures at the University of Stellenbosch Supervisor: Prof. J.C. Thom Co-supervisor: Dr. S. Thom Faculty of Arts and Social Sciences Department of Ancient Studies March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 28 February 2011 Copyright © 2010 University of Stellenbosch All rights reserved i ABSTRACT The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of man- horse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity.