Introduction to Sleep Under Stone
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Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
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. -
ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck -
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. -
Troy Myth and Reality
Part 1 Large print exhibition text Troy myth and reality Please do not remove from the exhibition This two-part guide provides all the exhibition text in large print. There are further resources available for blind and partially sighted people: Audio described tours for blind and partially sighted visitors, led by the exhibition curator and a trained audio describer will explore highlight objects from the exhibition. Tours are accompanied by a handling session. Booking is essential (£7.50 members and access companions go free) please contact: Email: [email protected] Telephone: 020 7323 8971 Thursday 12 December 2019 14.00–17.00 and Saturday 11 January 2020 14.00–17.00 1 There is also an object handling desk at the exhibition entrance that is open daily from 11.00 to 16.00. For any queries about access at the British Museum please email [email protected] 2 Sponsor’sThe Trojan statement War For more than a century BP has been providing energy to advance human progress. Today we are delighted to help you learn more about the city of Troy through extraordinary artefacts and works of art, inspired by the stories of the Trojan War. Explore the myth, archaeology and legacy of this legendary city. BP believes that access to arts and culture helps to build a more inspired and creative society. That’s why, through 23 years of partnership with the British Museum, we’ve helped nearly five million people gain a deeper understanding of world cultures with BP exhibitions, displays and performances. Our support for the arts forms part of our wider contribution to UK society and we hope you enjoy this exhibition. -
CMC-7332 the Social and Cultural Contexts of Historic Writing Practices.Indb
This pdf of your paper in The Social and Cultural Contexts of Historic Writing Practices is from the open-access on-line version of this book, available at: http:// books.casematepublishing.com/The_Social_and_Cultural_Contexts_of_Historic_ Writing_Practices.pdf. The work is licensed under the Creative Commons Attribution 3.0 Unported Licence. To view a copy of this license, visit http://creativecommons.org/licenses/ by/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This licence allows for copying any part of the online work for personal and commercial use, providing author attribution is clearly stated. Materials provided by third parties remain the copyright of their owners. AN OFFPRINT FROM The Social and Cultural Contexts of Historic Writing Practices edited by Philip J. Boyes, Philippa M. Steele and Natalia Elvira Astoreca Hardback Edition: ISBN 978-1-78925-478-5 Digital Edition: ISBN 978-1-78925-479-2 (ePub) Oxford & Philadelphia Chapter 14 Why με? Personhood and agency in the earliest 1 Greek inscriptions (800–550 BC) James Whitley Introduction: the view from Methana The archaeological museum in Poros is not much visited. In summer, the harbours and jetties of Poros are crowded with yachts on their way from Athens to the islands of the Saronic Gulf and the Southern Argolid – Aegina, Poros, Hydra and Spetses. Few, however, stop to go to the museum. If you do you may very well miss this epigram (Fig. 14.1). Unlike the marble inscribed bases from Attica, where the inscriptions are highlighted in red (such as that of Kroisos2 that addresses a passer-by; see Table 14.3) the letters here are very hard to read, and the stone itself (volcanic trachyte) very unsuitable for an inscription.3 It does not aid legibility (or at least our notions of legibility) that the letters are inscribed ‘boustrophedon’, as the ox ploughs. -
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. -
Lecture 37 Welcome to LLT121 Classical Mythology
Lecture 37 Welcome to LLT121 Classical Mythology. When last we left our heroes, the Homeric heroes of the Trojan War, which was really fought right around 1200 BC, I was discussing the concept of nostos or return home. I was being hassled. I was being haxed. I was being brutalized emotionally and intellectually by somebody who took exception to my remark that nobody actually won the Trojan War. Nobody did. Oh yeah, the Greeks got to sack the city, all right. There’s no denying that. Look at what happened to the Greeks when they went home. Let’s take Agamemnon, for example. What happened to him? He got killed. By who? That is pretty bad. What happened to his wife? Their son killed her. That was all right, because he’d killed her. Nope, he’s no winner. Menelaus—Mr. Helen—he actually did get back together with Helen. He took Helen back. They got on a ship and they were going to sail back to ancient Greece, but they were blown away by a storm and wound up living for seven years in ancient Egypt. I say ancient Egypt because even to the ancient Greeks, ancient Egypt was very, very ancient. Nestor made it home in one piece, too. Does anybody have a guess why Nestor made it home in one piece? Okay, go on and build on that thought, Jeremy. Well, yes and no. Oh, give me a break. Go back home. That isn’t bad. It isn’t right, either. I think, in his heart of hearts, Homer empathized with the old guy who talks just about forever. -
Tradition and Identity in Lycophron Autor(Es)
Tradition and Identity in Lycophron Autor(es): Deserto, Jorge Edições Afrontamento; CITCEM - Centro de Investigação Transdisciplinar «Cultura, Espaço e Memória»; Centro de Estudos Publicado por: Clássicos e Humanísticos; Alexandria University; Imprensa da Universidade de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/36173 DOI: DOI:http://dx.doi.org/10.14195/978-989-26-0966-9_12 Accessed : 29-Sep-2021 04:52:33 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. pombalina.uc.pt digitalis.uc.pt Alexandria endures in our imagination as the first model of cultural interaction – of cosmopolitanism, to use both classical and contemporary terminology – and as the cultural and intellectual capital of the ancient world. -
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) . -
Lecture 34 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 34 Good morning and welcome to LLT121 Classical Mythology. Thank you for turning in your papers. When last we left off—this is going to be a short one—we were talking about how Agamemnon, king of Mycenae, was presented with a dilemma. If you’ll recall, at the very beginning of the Trojan War, all 1,000 ships of the Greek fleet were bottle up in the port city of Elis. They could not get out of the port because there was no wind. There was no wind because, as it turned out, the goddess Artemis was angry. Why? I don’t know that kind of a day. Agamemnon found out that he could get out of the city of Elis on one condition, if he offered his daughter Iphigenia as a sacrifice. Iphigenia, you will recall is one of the three children of Agamemnon and his loving wife Clytemnestra. To Agamemnon this was a no-brainer. To Agamemnon, obviously, he had to send for his daughter Iphigenia and sacrifice her so that he and his manly men and ships could get out of the port of Elis and kick Trojan you know what. Take Helen back, because, if he didn’t, Agamemnon would have been found lacking in arete. This is the first of two buzzwords I’m going to give you today. These are going to show up on all future examinations. Learn them, live them. Arete is the ancient Greek word for virtue. Interestingly enough, arete is the Greek word, the Latin virtue. Both are derived from the word for manliness. -
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.