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A DIACHRONIC EXAMINATION OF THE ERECHTHEION AND ITS RECEPTION Alexandra L. Lesk, B.A., M.St. (Oxon.), M.A. Presented to McMicken College of Arts and Sciences and the Department of Classics of the University of Cincinnati in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2004 Committee: C. Brian Rose (Chair) Jack L. Davis Kathleen M. Lynch J. James Coulton Abstract iii ABSTRACT “A Diachronic Examination of the Erechtheion and Its Reception” examines the social life of the Ionic temple on the Athenian Akropolis, which was built in the late 5th century B.C. to house Athens’ most sacred cults and relics. Using a contextualized diachronic approach, this study examines both the changes to the Erechtheion between its construction and the middle of the 19th century A.D., as well as the impact the temple had on the architecture and art of these successive periods. This approach allows the evidence to shed light on new areas of interest such as the Post-Antique phases of the building, in addition to affording a better understanding of problems that have plagued the study of the Erechtheion during the past two centuries. This study begins with a re-examination of all the pertinent archaeological, epigraphical, and literary evidence, and proposes a wholly new reconstruction of how the Erechtheion worked physically and ritually in ancient times. After accounting for the immediate influence of the Erechtheion on subsequent buildings of the Ionic order, an argument for a Hellenistic rather than Augustan date for the major repairs to the temple is presented. -
Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article. -
Poetry and the Dēmos: State Regulation of a Civic Possession
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Poetry and the Dēmos: State Regulation of a Civic Possession S is article argues that poetry – the Homeric epics and the works of the tragedians – enjoyed an importance to the democratic government of Athens equal to that of the city’s laws. Like laws, poetry was powerful. Like the law, too, poetry was regulated and, at times, manipulated ac- cording to the political needs of the city and its rulers. P C e pervasive civic importance of poetry in Athenian democracy during the fi h and fourth centuries has been obvious since ancient times. e fi gure Demades in Plutarch calls the theoric fund, which paid for the entrance fee into dramatic festivals for all citizens, the “glue of the democracy” (ὡς ἔλεγε Δημάδης, κόλλαν ὀνομάζων τὰ θεωρικὰ τῆς δημοκρατίας) (Plut. Platonic Questions b). Casey Dué, “Poetry and the Dēmos: state regulation of a civic possession,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , C. Dué. In Aeschines’s oration Against Timarchus, Aeschines asks his jury to apply wisdom from the poetry of Euripides in their judgment of the case before them: Σκέψασθε δέ, ὦ Ἀθηναῖοι, τὰς γνῶμας ἃς ἀποφαίνεται ὁ ποιητής. -
Introduction to Bacchae
5 INTRODUCTION TO BACCHAE SI. TRADITION AND STRUCTURE For the Didascaliai report that after Euripides' death his son of the same at and Bacchae at the City name produced the Iphigeneia Aulis, Alkmeon, was one of the last Dionysia' (in Athens). Presumably then Bacchae very plays from Athens to the court of Written by Euripides, perhaps after his departure to ancient he died (in King Archelaos in Macedonia, where, according tradition, 407-6 BC). Exactly when it was posthumously produced we do not know The play shows us Dionysos' arrival, disguised as a mortal and his rites accompanied by a thiasos (sacred band) of Lydian women, to establish Semele had died birth to at Thebes, where Kadmos' daughter giving him, blasted by the thunderbolt of his father Zeus. He has driven all the women of him there with Thebes in a frenzy from their homes to Mt. Kithairon to worship new and can be dance and song. The young king Pentheus resists the cult, dissuaded from this resistance neither by his grandfather Kadmos and Teiresias, who are joining the worship of the new god, nor by Dionysos himself, nor by the escape of the imprisoned Dionysos amid the miraculous collapse of the royal of the house, nor by a herdsman's description of the miraculous powers maenads on Kithairon. But Dionysos does persuade him to go, disguised as a maenad, to spy on the maenads on the mountainside. There he is revealed by Dionysos to the maenads, who tear him apart, with his mother Agaue playing the leading role. She returns triumphantly to the royal house holding Pentheus' head, which she thinks is an animal's, and is brought out of her delusion by her father Kadmos, who has gathered from the mountainside the rest of Pentheus' dismembered body. -
Lecture 05 Greek Architecture Part 2
Readings Pages 54-60, A World History of Architecture, Fazio, Michael, Moffet & Wodehousecopoy Pages 60– 65 Great Architecture of the World ARCH 1121 HISTORY OF ARCHITECTURAL TECHNOLOGY Photo: Alexander Aptekar © 2009 Gardner Art Through the Ages Classical Greek Architecture 480 – 431BCE: Known as the Classical Period in Greek History Assertion that human intelligence puts man above the rest of nature Architecture began in the service of religion 7th century BCE – 1st efforts to create proper shapes and design Beauty = Gods Secret of beauty lay in ratios and proportions Invented democracy and philosophy Created works of art in drama, sculpture and architecture Greek Architecture 480 – 431BCE Temples first built with wood, then stone w/ terra cotta tiles Purely formal objects Greeks pursued the beauty through architecture and materials The home of the Gods Became the principal ornaments in the cities, generally on hills or other prominent locations www.greatbuildings.com www.greatbuildings.com Temple of Hephaestus megron Athenian Treasury Classical Orders In classical Greek architecture, beauty lay in systems of the ratios and proportions. A system or order defined the ideal proportions for all the components of the temples according to mathematical ratios – based on the diameter of the columns. What is an order? An order includes the total assemblage of parts consisting of the column and its appropriate entablature which is based on the diameter of the column. Temple of Hera II (Poseidon) 450 BCE The column is vertical and supports the structure. Its diameter sets the proportion of the other parts. The entablature is horizontal and consists of many elements. -
The Amazons: Development and Functions1
THE AMAZONS: 1 DEVELOPMENT AND FUNCTIONS ) The Un-society 0/ Amazons Amazons are a familiar sight in the Greek mythologicalland scape. Physiologically, they are female, but they have encroached on the social role of men: 'They were considered men because of their spirit (elJ'1j,.uxea) rather than women because of their physiolo gy (qJlJOL<;)' (Lysias 2.4). According to the popular story - rarely reflected in art - they 'pinched out' or cut off the right breast so as not to impede their javelin-throwing. But as Tzetzes observed, that would have killed them: the more rational- or rationalised alternative, going back to Hippokrates and his sources, is that they cauterised it before it grew, with a special iron tooF). This then explains their name: the Breastless - unless it is because they do not eat barley-bread ÜUl1;a), but tortoises, lizards and snakes3), in which case they have wasted their time tampering with their breasts. In fact these are all popular etymologies and their name, of unknown origin, has determined their anatomy. 'Al!a1;6ve<; invoke a story just as 'AcpQOÖLL'Ij demands to be 'born from foam' (Hes. Theog. 195-8). Defying the normal roles assigned to females by Greeks, Amazons go so far as to exclude males from their society. They are 'man-hating' (crtuyavoQe<; 'Aesch.' Prom. 724) and 'man-Iess' (a.vavöQoL Aesch. Supp!. 287). Yet without men at all, they are an un-society, an impossible society, which it is the job of ethno- 1) Earlier versions of this paper ("Uses of a Dead Amazon") were given to the Annual General Meeting of the Classical Association in Oxford (April 1992) and to the Institut für Alte Geschichte at the University of Munich Oune 1993). -
Ritual Performance As Training for Daughters in Archaic Greece Author(S): Wayne B
Classical Association of Canada Ritual Performance as Training for Daughters in Archaic Greece Author(s): Wayne B. Ingalls Reviewed work(s): Source: Phoenix, Vol. 54, No. 1/2 (Spring - Summer, 2000), pp. 1-20 Published by: Classical Association of Canada Stable URL: http://www.jstor.org/stable/1089087 . Accessed: 31/03/2012 18:35 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Classical Association of Canada is collaborating with JSTOR to digitize, preserve and extend access to Phoenix. http://www.jstor.org RITUAL PERFORMANCE AS TRAINING FOR DAUGHTERS IN ARCHAIC GREECE WAYNEB. INGALLS INTRODUCTION THE PUBLICATION OF THE REVISION AND ENGLISH TRANSLATION of Claude Calame's Les choeursdejeunes filles en Grecearchaique (1997) has again focused attention on the participationof girls in traditionallyric choruses. One aspect of choral activitywhich Calame discusses is education (1977: 1.385-420; 1997: 221-244). In this treatment Calame deals with the chorus as the place of education, the instruction given to the chorus, the metaphoricalrepresentation of education and marriage, and the homoerotic elements -
The Curvature of the Parthenon, Part I
1 of 22, Part 1 From the desk of Pierre Beaudry THE LIVING CURVATURE OF THE PARTHENON OF ATHENS AND THE PHEIDIAS CELEBRATION OF THE PRINCIPLE OF CREATIVITY (An ancient pedagogical experiment.) Part I by Pierre Beaudry 12/25/2008 “{In a very early period of the arts in Greece, we meet with a circumstance which shows the advantages derived from consulting with philosophy, if it does not also show the origin and outset of those advantages. The circumstance to which I allude is, that in the period when the sculptors contented themselves with the stationary forms and appearance of figures, in imitation of their predecessors, the Egyptians; at that time they began to submit their works to the judgment of philosophers, one of whom, being called in to survey a statue, which a sculptor, then eminent, was going to expose to public view, remarked that the human figure before him wanted motion, or that expression of intellect and will, from which motion and character must arise; for man had a soul and mind, which put him at the head of the animal creation, and, therefore, without that soul and mind, the form of man was degraded.}” (Benjamin West, On the Philosophy of Character , John Galt, Life, Studies, and Works of Benjamin West . Part II, p. 124.) 1 INTRODUCTION: THE PARADOX OF THE PARTHENON OF ATHENS The curious thing about the Parthenon of Athens is that you have to first start discovering the nature of your own mind in order to understand its construction. That is, you have to look into the future in order to understand the past, you have to start with the whole in order to make sense of the part, which means that you have to understand the universe as a intelligent living whole in order to understand the speck of dust that your last visit there has left on your shoe. -
The Regime of Demetrius of Phalerum in Athens, 317–307
Th e Regime of Demetrius of Phalerum in Athens, 317–307 BCE Mnemosyne Supplements History and Archaeology of Classical Antiquity Edited by Susan E. Alcock, Brown University Th omas Harrison, Liverpool Willem M. Jongman, Groningen H.S. Versnel, Leiden VOLUME 318 Th e Regime of Demetrius of Phalerum in Athens, 317–307 BCE A Philosopher in Politics By Lara O’Sullivan LEIDEN • BOSTON 2009 On the cover: Detail of the Parthenon. Photo: Author. Th is book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data O’Sullivan, Lara. Th e rule of Demetrius of Phalerum in Athens, 317-307 B.C. : a philosopher in politics / by Lara O’Sullivan. p. cm. — (Mnemosyne supplements. History and archaeology of classical antiquity, ISSN 0169-8958 ; v. 318) Includes bibliographical references and index. ISBN 978-90-04-17888-5 (hbk. : alk. paper) 1. Demetrius, of Phaleron, b. ca. 350 B.C. 2. Demetrius, of Phaleron, b. ca. 350 B.C.—Political and social views. 3. Governors—Greece—Athens—Biography. 4. Statesmen—Greece—Athens— Biography. 5. Orators—Greece—Athens—Biography. 6. Philosophers, Ancient— Biography. 7. Athens (Greece)—Politics and government. 8. Philosophy, Ancient. 9. Athens (Greece)—Relations—Macedonia. 10. Macedonia—Relations—Greece— Athens. I. Title. II. Series. DF235.48.D455O87 2009 938’.508092—dc22 [B] 2009033560 ISSN 0169-8958 ISBN 978 90 04 17888 5 Copyright 2009 by Koninklijke Brill NV, Leiden, Th e Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. -
The Eleusinian Mysteries
The Eleusinian Mysteries by Iordanis Poulkouras (trans. Sasha Chaitow) Paper Presented at the 7th Esoteric Quest Conference on The Mysteries and Philosophies of Antiquity, Samothrace, September 2008 Our topic is the Eleusinian Mysteries, perhaps one of the best-known mystery cults of all time. They are rooted in a very ancient time, long before the city state of Athens or the official worship of the Olympian Gods ever existed. Despite this, they have retained their sacrality and commanded respect within various eras and cultures, almost as if they have their own secret and magical way of evoking something in the soul or subconscious of man. I am not sure which term to use – the citizen of classical Greece, Imperial Rome, Enlightenment Europe or even our own Digital reality. There is a host of very proliferous narratives and legends around the theme of these Mysteries. Yet their accuracy is questionable since true initiates took a heavy oath of silence bestowed by the goddess herself. So let us try to make sense of what information we do have. What and When In one prophecy to the Athenians relating to the worship of Dionysus Elefthereos – Latinised to Pater Liber - the Delphi oracle reminded the citizens that the god had returned to the city together with Demeter during the reign of the King of Athens Pandion. The goddess did not stay, but went to Eleusis where she was received by King Keleos. This prophecy would put the inception of the Eleusinian Mysteries at around the 13th century BC. However, it is more or less certain that they actually date to the Minoan period when the worship of the Great Goddess predominated. -
Medical Language in the Speeches of Demosthenes Allison Das a Dissertation Submitted in Partial Fulfillment of the Requirement
Medical Language in the Speeches of Demosthenes Allison Das A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Ruby Blondell, Chair Deborah Kamen Alexander Hollmann Program Authorized to Offer Degree: Classics Department Allison Das ii ©Copyright 2015 Allison E. Das Allison Das iii University of Washington Abstract Medical Language in the Speeches of Demosthenes Allison E. Das Chair of Supervisory Committee Dr. Ruby Blondell Classics Department Introduction This project is intended as an examination of medical language and imagery in the speeches of Demosthenes, with special attention given to his speeches against his political opponent Aeschines, Against the False Embassy (19) and On the Crown (18). In Chapter 1, I contextualize his use of such language and imagery by exploring the influence of Hippocratic medicine on fourth- and fifth-century non-medical literature. I argue that the shared anxieties of medicine and politics, namely that both arts demand quick action and foresight on the part of the good practitioner, and the rich new vocabulary of suffering and disease, made Hippocratic medicine an enticing model for the political writer, that is, the historian, philosopher, and orator. Demosthenes' medical language and imagery should thus be seen as part of a tradition of analogizing the two arts, which began during the circulation of the first Hippocratic treatises and continued well into and past his own day. Allison Das iv In Chapter 2, I look at medical language and imagery in Demosthenes' prosecution of Aeschines for political misconduct during the Second Embassy to Philip II of Macedon, On the False Embassy. -
Counterintelligence
ch5.qxd 10/18/1999 2:14 PM Page 190 Chapter 5 Counterintelligence As the shield is a practical response to the spear, so counterintelligence is to intelligence. Just as it is in the interest of a state to enhance its ability to in›uence events through the use of intelligence, it is in its interest to deny a similar ability to its opponents. The measures taken to accomplish this end fall within the nebulous boundaries of the discipline now known as counterintelligence.1 Was such a shield employed by the ancients? In general, yes— although, as with intelligence, this response must be quali‹ed in degree according to state, circumstance, and era. Assessments are, however, somewhat complicated by the use of stereotypes and propaganda by the ancients. Members of democratic states (i.e., the Athenians, who have left us a lion’s share of evidence) tended then—and still tend—to wish to conceive of their societies as open and free and of subjects of other forms of government as liable to scrutiny and censorship. In his funeral oration, Pericles declared that the Athenians “hold our city open to all and never withhold, by the use of expulsion decrees, any fact or sight that might be exposed to the sight and pro‹t of an enemy. For on the whole we trust in our own courage and readiness to the task, rather than in contrivance and deception.”2 Demosthenes similarly characterized the Athenians: “You think that freedom of speech, in every other case, ought to be shared by everyone in the polis, to such an extent that you grant it even to foreigners and slaves, and one might see many servants among us able to say whatever they wish with more freedom than citizens in some other 1.