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A Cross-Disciplinary Study of Ancient Greek Kairos, Circa 3000–146 Bce

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A Cross-Disciplinary Study of Ancient Greek Kairos, Circa 3000–146 Bce FROM NATURE TO THE IDEAL: A CROSS-DISCIPLINARY STUDY OF ANCIENT GREEK KAIROS, CIRCA 3000–146 BCE A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY BY NICOLE RUTH CARDASSILARIS DISSERTATION ADVISOR: DR. PAUL W. RANIERI BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2019 To my intellectual DNA, and to my biological DNA, but especially to my son, Nicholas 2 CONTENTS PAGE Acknowledgements ………………………………………………………………… 4 List of Figures …………………………………………………………………….. 7 Chapter 1. Introduction …………………………………………………………….. 10 Chapter 2. Denotations and Connotations of Ancient Greek Kairos: A Review of Literature in Three Academic Disciplines ……………. 36 Chapter 3. Towards a Prehistory of Ancient Greek Kairos: What Constituted the Greeks’ Understanding of “a Moment in Time” between 3000-600 BCE? …………………………………………… 81 Chapter 4. The Expansion and Organization of Expression: Kairos in Transition, 800-400 BCE ………………………………… 124 Chapter 5. From Nature to Humankind: Framing the Conventional and Ideal Kairos, 400-146 BCE ……………………………………... 181 Chapter 6. Conclusion ……………………………………………………………….. 231 Bibliography …………………………………………………………………………. 245 3 ACKNOWLEDGEMENTS First I would like to thank the professors who sat on my dissertation committee. Thank you Professors Paul Ranieri (Rhetoric and Writing), Robert Habich (American Literature), Christine Shea (Classical Studies), and Richard King (Classical Studies). Robert Habich advised the approach and structure of my research, while providing expert feedback and expert advice for revisions. Christine Shea and Richard King advised on the sociocultural aspects of ancient Greece, Greek mythology, and various philological corrections and recommendations on translations of ancient Greek. I thank each one of you for your encouragement to complete this project. For my cross-disciplinary study of ancient Greek kairos, I feel fortunate for the cross- disciplinary make-up of my committee. The perspectives provided by each member has contributed to the content of my dissertation in ways that have helped to shape not only the content but also the structure. You are part of the intellectual DNA to whom I dedicate this study. Under a different committee, I believe this would have been a different project. I want to express that I am deeply grateful to my dissertation advisor Paul Ranieri in whose seminar on Classical Rhetoric this the topic of kairos was first introduced to me, and whose insight and encouragement have been crucial to the realization of this project. Professor Ranieri guided me in such a way that the project feels like “mine” exclusively. Under his guidance my interest in the subject of kairos has only grown, as he has been an excellent mediator between me and the scholarship. Thank you, Professor Ranieri for being an exemplar educator and mentor. I am grateful to have had the scholar carrel in Bracken Library and access to the research resources of the University Libraries. I am especially appreciative of all the kind and friendly circulation desk personnel who have greeted me (almost daily) for over two years with smiles, laughter, and personal exchanges. Also, I want to extend many, many thanks to the personnel in 4 the Interlibrary Loan division who processed my multitude of requests—I could not have written this dissertation without the resources I was able to get through ILL. Additionally, I would like to thank Lisa Jarrell, Head Librarian of Educational Technology and Resources at Bracken Library, for hiring me as her graduate assistant for the last year and a half. Lisa has been a very supportive and encouraging supervisor, and she has continually provided me with tasks that were interesting, thought-provoking, and informative. I have especially enjoyed learning about the educational objectives connected to the realia portion of the collection. Learning through objects has always been of major interest to me; in fact this interest has guided my personal academic journey (see the following dissertation…), as well as my teaching philosophy. This graduate assistant position was an excellent fit for me and my skill set, and I will miss working with Lisa, her staff, and the collection of realia. I wish to thank my family and friends for their loving and relentless support and interest. Writing this dissertation has been a very isolating experience, and without the encouragement and kindness of my friends and family, it simply would not have happened. I could never have estimated or predicted the amount of continual and untiring support each one of you has given me. Each friend and family member has inspired me with their own spirit for life, knowledge, accomplishments, and values. Listed in order from the friends and family I have known the longest, thank you Aunt Cindy and Uncle Dan Sublette, Tanya Hendricks Cobb, Lana Frey, Rosy Vitalis, Anka Terry, Brenda Yates-Habich, Misty Barton, Serena Nancarrow, Cheryl Simpkins, Professor Rena Dossett, Kate Bolinger, Amy Trendler, Rachael Wagoner, Lori Barker, Lisa Jarrell, Matthew Shaw, Byron Ballard, and Jill Meinerding. Thank you to those of you in this list who were able to attend my defense. 5 Finally, the very important source of support and inspiration that has come from my parents—the biological DNA to whom I dedicate this project. My father, Pantelis Kardasilaris, has given me Greece, not only in the Greek blood that runs through my veins, but also in exposure to the unique inextinguishable character and spirit of the Greek landscapes, seascapes, language, history, and people. My mother, Judith Cardassilaris, with whom I visited the Athenian Acropolis with at the age of five, instilled in me an independence of mind and the introduction to art. And since the birth of my son, Nicholas Cardassilaris Bolinger in 2007, she has unselfishly given her time in helping me care for him. He is the most special and precious source of inspiration in all aspects of my life, and to whom I most especially dedicate this work. 6 LIST OF FIGURES FIGURES 1.1 Unidentified maker, Fragment of Kairos, fourth/third century BCE, Trogir (Trau), Croatia, Monastery of St. Nicholas. 1.2 “Table 3.1, Kairos in the Rhetorical Situation,” in The Wadsworth Guide to Research. 1.3 Contemporary Greek ΚΑΙΡΟΣ related to weather in Greece. 1.4 Contemporary Greek ΚΑΙΡΟΣ related to weather in Greece, “δειτε τον καιρο.” 1.5 Contemporary Greek ΚΑΙΡΟΣ related to weather in Greece, “Ο καιρός τρελάθηκε!” 1.6 Orpheus Painter, Orpheus plays the lyre and sings among Thracian warriors with spears, Attic red-figure column krater, ca. 440, clay, Staatlich Museen zu Berlin. 1.7 Panofsky’s Synoptic Table for Iconographical-Iconological Methodology. 1.8 Unidentified Maker, Father Time, illustration from a Bowery Saving Bank Advertisement. 1.9 Unidentified maker, Kairos, ca. 350-330 BCE, marble, Turin, Italy, Museum of Antiquities. 2.1 Polykleitos, Doryphoros (Spear Bearer), Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE, Museo Nazionale, Naples. 2.2 Lysippos, Apoxyomenos (Scraper). Roman marble copy after a bronze original of ca. 330 BCE, Vatican Museums, Rome. 3.1 Unidentified Maker, Landscape with swallows (Spring Fresco), ca. 1650 BCE, fresco, from room Delta 2, Akrotiri, Thera (Santorini), Greece, National Archeological Museum, Athens. 3.2 Unidentified Maker, Octopus jar (Marine style pilgrim flask), ca. 1500 BCE, clay, from Palaikastro, Crete, Greece, Heraklion Archaeological Museum, Crete. 3.3 Unidentified Maker, Minoan octopus stirrup jar, ca. 1500 BCE, clay, Heraklion Archaeological Museum, Crete. 3.4 Unidentified Maker, Terracotta stirrup jar with octopus, Late Helladic IIIC, ca. 1200– 1100 B.C., terracotta, Helladic, Mycenaean. Purchase, Louise Eldridge McBurney Gift, 1953, 53.11.6, The Metropolitan Museum of Art, New York. 3.5 Unidentified Maker, Bull-leaping, ca. 1450–1400 BCE, fresco, from the palace at Knossos, Crete, Greece, Heraklion Archaeological Museum, Crete. 3.6 K. Iliakis, Illustrated reconstruction of the various stages of bull-leaping. 3.7 Unidentified Maker, Harvester Vase, ca. 1500 BCE, steatite or serpentine, from Hagia Triada, Crete, Greece, Heraklion Archeological Museum, Crete. 3.8 Detail of Harvester Vase. 3.9 Detail of Harvester Vase. 4.1 Unidentified Maker, Late Geometric krater with shipwreck scene, clay, ca. 725-700 BCE, from necropolis site, Valle di S. Montano (Lacco Ameno), Museo Archaologico di Pithecusae, Ischia, Italy. 7 4.2 Unidentified Maker, Late Geometric krater with shipwreck scene, clay, ca. 725-700 BCE, from necropolis site, Valle di S. Montano (Lacco Ameno), Museo Archaologico di Pithecusae, Ischia, Italy. 4.3 Drawing of Late Geometric krater with shipwreck scene, clay, ca. 725-700 BCE, from necropolis site, Valle di S. Montano (Lacco Ameno), Museo Archaologico di Pithecusae, Ischia, Italy. 4.4 Cleimachos, potter, Hydria with black figures, ca. 560 - 550 BCE, Athens, Campana Collection, 1861, Department of Greek, Etruscan and Roman Antiquities, Louvre, Paris. 4.5 Unidentified Maker, Dipylon oinochoe, clay, ca. 740 BCE, National Archaeological Museum, Athens. 4.6 Graffito illustrated from the Dipylon Oinochoe. 4.7 Unidentified Maker, Nestor’s Cup, Kotyle importata da Rodi con iscrizione graffita in versi, nota come “Coppa di Nestore." ca. 725 BCE, dalla necropoli, Valle di S. Montano (Lacco Ameno), Tomba 168, Museo Archaologico di Pithecusae, Ischia, Italy. 4.8 Graffito illustrated from Nestor’s Cup. 4.9 Unidentified Maker, Floral style jug with grass,
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