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Ritualdynamics
Originalveröffentlichung in: H.F.J. Horstmanshoff- H.W. Singor- F.T. van Straten - J.H.M. Strubbe (eds.), Kykeon. Studies in Honour of H.S. Versnel, Leiden-Boston-Cologne: Brill 2002, S. 23-48 RITUAL DYNAMICS: THE BOIOTIAN FESTIVAL OF THE DAIDALA ANGELOS CHANIOTIS 1. Sources and puzzles In Turkish folkore Nasreddin Hoca is a representative of populär wisdom; his stories are well-known in Greece as well. One of them goes as follows: Nasreddin Hoca had been appointed as a judge in a dispute between two men. After the plaintiff had presented his case, Nasreddin Hoca looked at him and said: 'You are right'. Then it was the defendant's turn to present his argument and, again, Hoca's response was the same: 'You are right'. Thereupon one of the on- lookers at the trial turned to Hoca and said: 'You are the judge; you have to pass a judgment now'. Hoca looked at him calmly and an- swered: 'You are right, too'. Whenever I heard this story as a child, I laughed, but at the same time I was puzzled about its meaning. I still am, but I can not help thinking of this story whenever I read different interpretations of the same Greek festival. Of course, not everyone is right, but there is hardly any study which does not offer a new interesting insight. I also could not help thinking of Hoca's story again, when I read the jacket of the second volume of the Inconsistencies in Greek and Roman Religion. There, Henk Versnel expresses his conviction 'that the three approaches to religion known as "sub- stantivistic", functionalist and cultural-symbolic respectively, need not be mutually exclusive.' If I have chosen such a puzzling festival as the Daidala for this paper in honor of Henk Versnel, it is because I think that it pre- sents an interesting case of a ritual, in the study of which different interpretative approaches are not mutually exclusive or contradic- tory, but complementary. -
A Companion to Greek Religion
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Kernos Revue internationale et pluridisciplinaire de religion grecque antique 21 | 2008 Varia Daniel OGDEN (ed.), A Companion to Greek Religion Joannis Mylonopoulos Electronic version URL: http://journals.openedition.org/kernos/1683 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2008 ISSN: 0776-3824 Electronic reference Joannis Mylonopoulos, « Daniel OGDEN (ed.), A Companion to Greek Religion », Kernos [Online], 21 | 2008, Online since 15 September 2011, connection on 21 April 2019. URL : http:// journals.openedition.org/kernos/1683 Kernos RevuedesL vres 319 2. Comptes rendus et notices 1i1liogr phiques Dan elO8DEN(ed.),A Companion to ree) Religion,Oxford,BlackEell,2007.1 vol.18×2Icm,097p.(Blac)well Companions to the Ancient.orld).ISBN:978+1+ 00I1+20I0+8. Recent scholarsh p n the f eld of Class cs s def n tely dom nated by compan ons, ntroduct ons,asEellasEinf-hrungen tol terallyalmosteveryth ng,and t sleg t matetoask hoEnecessarytheyreallyare,EhethertheyaddneE ns ghtstoourknoEledge,ordothey s mplyrepresenttheproductofaneEscholarlyfast+food+era?Itshouldbestressedfrom theverybeg nn ngthatth sneEcompan oncerta nlydoesnotbelongtothelastcategory, for the sheer Qcollect onR of renoEned contr butors guarantees the h ghest standards. Nevertheless,already nh s ntroductorynote,theed torrevealsthebook’smost mportant Eeakness2 although Ee may or may not agree -
The World of Greek Religion and Mythology
Wissenschaftliche Untersuchungen zum Neuen Testament Herausgeber/Editor Jörg Frey (Zürich) Mitherausgeber/Associate Editors Markus Bockmuehl (Oxford) ∙ James A. Kelhoffer (Uppsala) Tobias Nicklas (Regensburg) ∙ Janet Spittler (Charlottesville, VA) J. Ross Wagner (Durham, NC) 433 Jan N. Bremmer The World of Greek Religion and Mythology Collected Essays II Mohr Siebeck Jan N. Bremmer, born 1944; Emeritus Professor of Religious Studies at the University of Groningen. orcid.org/0000-0001-8400-7143 ISBN 978-3-16-154451-4 / eISBN 978-3-16-158949-2 DOI 10.1628/978-3-16-158949-2 ISSN 0512-1604 / eISSN 2568-7476 (Wissenschaftliche Untersuchungen zum Neuen Testament) The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- graphie; detailed bibliographic data are available at http://dnb.dnb.de. © 2019 Mohr Siebeck Tübingen, Germany. www.mohrsiebeck.com This book may not be reproduced, in whole or in part, in any form (beyond that permitt- ed by copyright law) without the publisher’s written permission. This applies particular- ly to reproductions, translations and storage and processing in electronic systems. The book was typeset using Stempel Garamond typeface and printed on non-aging pa- per by Gulde Druck in Tübingen. It was bound by Buchbinderei Spinner in Ottersweier. Printed in Germany. in memoriam Walter Burkert (1931–2015) Albert Henrichs (1942–2017) Christiane Sourvinou-Inwood (1945–2007) Preface It is a pleasure for me to offer here the second volume of my Collected Essays, containing a sizable part of my writings on Greek religion and mythology.1 Greek religion is not a subject that has always held my interest and attention. -
The Frame of the Phaedo Matthew Hiscock
The Frame of the Phaedo Matthew Hiscock N THE 1990S Diskin Clay and William Johnson made a new case for the significance of the frame or dramatic setting, in Phlius and Athens, of the philosophical discussion repre- I 1 sented in the Phaedo. They showed that it is one of four “com- plex” frames in the Platonic corpus; that it prefigures and reflects aspects of the philosophical debate (so Clay); and (in Johnson’s case) that it marks a gap between the “actual experience of dia- lectic […] and our experience as readers,” a gap which figures the significant (for Plato/Socrates) gap “between the act of un- derstanding in the material world and the true Understanding of the Ideal world” (591).2 This, Johnson added, does not in- validate previous readings of the frame as a means to suggest temporal distance, to underline the fictive aspects of the Phaedo, or as an expression of Plato’s “playfulness”; but it makes them seem (at least) “unsatisfactory.”3 Since the turn of the century, there has been a turn to ritual. 1 Following Friedländer, D. Clay, “Plato’s First Words,” YCS 29 (1992) 113–129, at 119–120 n.16, notes that the frames of certain dialogues have been seen as integral to their ‘philosophy’ (i.e., as more than scene-setting) since at least the time of Proclus (fifth cent.). W. A. Johnson, “Dramatic Frame and Philosophic Idea in Plato,” AJP 119 (1998) 577–598. 2 The other “complex” frames are those of Symp., Prm., and Tht. For Clay, the frame anticipates the dialectic of opposites (but see n.24 below) and sets the scene for the claim that death is a purification and release from the contagion of the body. -
Alkman and the Athenian Arkteia Richard Hamilton Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 1989 Alkman and the Athenian Arkteia Richard Hamilton Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Hamilton, Richard. "Alkman and the Athenian Arkteia." Hesperia 58 (1989): 449-472. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/classics_pubs/42 For more information, please contact [email protected]. ALKMAN AND THE ATHENIAN ARKTEIA (PLATES 83-86) N 1963 AND 1965 Lilly Kahil published fragmentsof a number of small 6th- and 5th- centuryblack-figured vases, which she called krateriskoi.1These krateriskoi,which were found in Brauron, Piraeus, and the Athenian Agora, immediatelycalled attentionto them- selves by their distinctive shape, fabric, and iconography.2Kahil subsequently published three much larger red-figuredkraters with similar shape and similar iconographybut of unknown provenance and republished some krateriskos fragments from the Athenian Akropolis.3More recently, Lydia Palaiokrassain her publicationof the finds from a sanc- tuary of Artemis at Mounichia has more than doubledthe numberof publishedkrateriskoi. The connectionof almost all the findspotswith Artemis and the repeated depiction on the vases of young girls dancing, racing (sometimesnaked), or processingnear an altar and a palm tree has led scholarsto agree that the vases are cult objectsand that the representations depict the ritual of the arkteia, at which Athenian girls at a certain age "were bears" I Kahil, 1963 and 1965. -
Time and Religion in Hellenistic Athens: an Interpretation of the Little Metropolis Frieze
Time and Religion in Hellenistic Athens: An Interpretation of the Little Metropolis Frieze. Monica Haysom School of History, Classics and Archaeology Submitted for the Degree of Doctor of Philosophy, Newcastle University, November 2015. ABSTRACT Two stones that form a part of the spolia on the Little Metropolis church (Aghios Eleutherios) in central Athens consist of a frieze depicting a calendar year. The thesis begins with a Preface that discusses the theoretical approaches used. An Introduction follows which, for reference, presents the 41 images on the frieze using the 1932 interpretation of Ludwig Deubner. After evaluating previous studies in Chapter 1, the thesis then presents an exploration of the cultural aspects of time in ancient Greece (Chapter 2). A new analysis of the frieze, based on ancient astronomy, dates the frieze to the late Hellenistic period (Chapter 3); a broad study of Hellenistic calendars identifies it as Macedonian (Chapter 4), and suggests its original location and sponsor (Chapter 5). The thesis presents an interpretation of the frieze that brings the conclusions of these chapters together, developing an argument that includes the art, religion and philosophy of Athenian society contemporary with the construction of the frieze. Given the date, the Macedonian connection and the link with an educational establishment, the final Chapter 6 presents an interpretation based not on the addition of individual images but on the frieze subject matter as a whole. This chapter shows that understanding the frieze is dependent on a number of aspects of the world of artistic connoisseurship in an elite, educated audience of the late Hellenistic period. -
The Iconography of the Athenian Hero in Late Archaic Greek Vase-Painting
The Iconography of the Athenian Hero in Late Archaic Greek Vase-Painting Elizabeth Anne Bartlett Tucson, Arizona Bachelor of Art, Scripps College, 2006 Master of Art, University of Arizona, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia May 2015 ______________________________ ______________________________ ______________________________ ______________________________ –ABSTRACT– This study questions how Athenian vase-painters represented heroic figures during the late sixth and early fifth centuries B.C. – specifically from the death of Peisistratos in 528 B.C. to the return of Theseus' bones to Athens in 475/4 B.C. The study focuses on three specific Attic cult heroes with a strong presence both in the Greek world and on Athenian vases: Herakles, Theseus, and Ajax. Although individual studies have been published regarding various aspects of these three heroes, such as subject matter, cult worship, literary presence, and social history, the current one departs from them by categorizing, comparing, and contrasting the different portrayals of the three chosen heroes. Using Athenian vases as the primary form of evidence, the current study endeavors to uncover how individual iconography can – or cannot – identify the heroic figure. By using an iconographic approach of looking at attributes, dress, gestures, poses, and composition, a more complete picture of the image of the hero may be understood. Evidence of both the cult of, and importance of, the Athenian hero is stressed both in ancient texts and through archaeological evidence, thus supplemental material is taken into consideration. Illustrations of Greek heroes can be found on a variety of vase shapes of various techniques, and the accompanying catalogue includes almost 300 examples. -
Cultic Dimensions of Dionysus in Athens and Attica
UC Berkeley Cabinet of the Muses: Rosenmeyer Festschrift Title Between City and Country: Cultic Dimensions of Dionysus in Athens and Attica Permalink https://escholarship.org/uc/item/5xt4952c Author Henrichs, Albert Publication Date 1990-04-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California BETWEEN COUNTRY AND CITY: CULTIC DIMENSIONS OF DIONYSUS IN ATHENS AND ATTICA Albert Henrichs Harvard University The Attic Dionysus has left an immensely rich and diverse record in art and literature.1 He appears first on Sophilos’ vase and in the poetry of Solon, both times as the wine-god. His connection with the grapevine remained his dominant trait throughout the fifth and fourth centuries, despite an occasional emphasis, especially in drama, on two of his other provinces, maenadism and the afterlife. Tragedy as well as comedy was a Dionysiac event, performed in his honor and, as it were, in his presence. Maenadism in its magnified mythical form looms large in the Bacchae of Euripides, which is always the first Attic text that comes to mind when one thinks of Dionysus in Attica. In many discussions of Dionysus, the Bacchae has all but effaced other sources of information, which reveal additional and equally important aspects of the god’s place in Athenian society, especially his prominence in cult. The recent monograph by Maria Daraki does not ignore the cultic Dionysus, but her preface sets the tone for the entire book by invoking the parodos of the Bacchae to establish a series of interpretive categories, which include “l’expérience psychologique du dionysisme,” “l’inversion des normes sociales,” “le paradoxe de Dionysos,” and the concept of “un dieu aussi étrange” and “son paradis sauvage.”2 I do not question the validity of these categories for the study of Dionysus; I have used some of them myself. -
8 Ritual Ties Between Center and Periphery
The Athenian Experiment: Building an Imagined Political Community in Ancient Attica, 508-490 B.C. Greg Anderson http://www.press.umich.edu/titleDetailDesc.do?id=17798 The University of Michigan Press 8 RITUAL TIES BETWEEN CENTER AND PERIPHERY With the panathenaia coming barely a week after the Synoikia in the µrst month of the sacred calendar, the Athenian year always opened with a kind of extended ceremonial homage to the idea of pan-Attic communion: the ofµcial celebration of regionwide fellowship at the “festival of all the Atheni- ans” followed a public commemoration of the act that made this fellowship possible. But these were not the only occasions in the calendar that brought to mind the political integrity of Attica. Other major festivals addressed the issue in a somewhat different fashion. Whereas the unity of the region and its people was presupposed in the ritual of the Panathenaia, an established fact that needed only to be celebrated, other fes- tivals explored the underpinnings of unity by drawing attention to relations be- tween Athens and outlying areas of the periphery. Each year, in their respective rituals, they rearticulated the bonds between the center and particular locales in the Attic margins, underscoring, in the process, the unusually inclusive regional character of the Athenian polis. The best known of these festivals are the City Dionysia, the Eleusinian Mysteries, and the Brauronia, and they too show evi- dence of important discontinuity during the age of Cleisthenes. CITY DIONYSIA Along with the Panathenaia and the Eleusinian Mysteries, the celebration known as the Great Dionysia or City Dionysia was one of a small handful of 178 The Athenian Experiment: Building an Imagined Political Community in Ancient Attica, 508-490 B.C. -
© in This Web Service Cambridge University
Cambridge University Press 978-0-521-38867-2 - Religions of the Ancient Greeks Simon Price Index More information Index Academics 155 Aphrodisias 166 Achilles 170 Aphrodite 7, 11, 16, 17, 45, 117, 160;at Acts of the Apostles 7, 23, 161, 181 Aphrodisias 166; at Athens 40, 92, 94;in adultery 127, 159 Arcadia 53; at Kition 76–7; Ourania 96; aedes 150 Aphrodite-Venus 143 Aegeae 165 Apollo 11, 37, 118, 160; at Claros 49, 75, 137, Aelius Aristides 46, 111–12 179; at Delos 45; at Delphi 1, 2, 9, 56, 60, Aeneas 147, 148, 150 63n, 68, 74, 140, 166, 179; at Didyma 37, 62, Aeschines 116 75; at Ephesos 156; at Magnesia 156; Aeschylus 43 Ismenios 38; Karneios 55; Ptoios 62; Pythios Aesculapius 145–7, 149 173, 175; Smintheus 37 afterlife 101, 106–7, 119–25 Apollodorus 15 agalma 37 apologists 105, 158–64 Agamemnon 90 apples 51, 62 Aglauros 20, 40, 94, 95, 160 Apuleius 123–5, 141 agora 48–9, 174; at Athens 19, 22, 28, 32, 39, Ara Maxima 149, 150 43, 49n, 78; at Megara Hyblaia 49–51 Aratus 161 agriculture 18–19, 36, 99, 174 Arcadia 53, 54–5, 57, 140 Akropolis 51; at Athens 29, 39–41, 47n, 53, 55, archaeological evidence 4, 9–10, 49–51, 55–6 56, 61–3, 64–5, 90–4, 95; at Selinus 49, 51 Areopagus 43 Alaric 169 Ares 11, 179; Ares-Mars 143 Alcibiades 54, 87 Argonauts 118 Alexander the Great 48, 61 Argos 27–8, 41, 53 Alexandria 48, 165 Ariadne 98 allegory 117, 163 Aristarche 145 altars 2, 33, 47, 58; of Zeus 13, 54; texts about Aristoboulos 161, 163n 48–9, 54, 175, 176, 177, 181 aristocrats 62 Amazons 22, 23, 156 Aristomenes 99 Amphidromia 89 Aristophanes 44, -
The Stele-Goddess Workshop Terracottas from Well U 13:1 in the Athenian Agora (Piates101-1 13)
THE STELE-GODDESS WORKSHOP TERRACOTTAS FROM WELL U 13:1 IN THE ATHENIAN AGORA (PIATES101-1 13) T HE SETTING OF WELLU 13:1in a complex of shops or workshopsofthe late 5th and 4th centuries B.C. to the east of the Athenian Agora, deep under the later stoa of the Libraryof Pantainosthat lined the way to the Roman Agora, has been provided by T. Leslie ShearJr.' The terracottasfrom its upper fill constitute a major find, and the author is greatlyindebted to Leslie Shear for this opportunityto try to explain their significance. They range stylisticallyfrom the Early Classical period to a quite advanced phase of the Rich Style, chronologicallyprobably from ca. 470-460 B.C. down to a little before the filling of the well shaftitself, placed in ca. 380 B.C. or, at latest, no lower than the 3 70's on conventional ceramic chronology by Alison Adams Dickey, the last person to make a detailed study of its pottery.2Somewhat fragmentary, these terracottascomprise elements from one archetype (the original model from which molds were taken)and a minimum of forty molds of various kinds,3 as well as parts of at least twenty-one finished figurines4and six vases in the form of statuettes. They are all from Layer 1 of the upper fill of the well, with the following four exceptions: 1, 8, and part of 28b from Layer 2; 4 from Layer 5. These exceptions, however,tend to confirmthe impressiongiven by the potterythat these stratain the upper fill may be of similar source and date. Certainlythe other fragmentsof 28 are from Layer 1, including one making a directjoin with that from Layer 2. -
Artemis and Virginity in Ancient Greece
SAPIENZA UNIVERSITÀ DI ROMA FACOLTÀ DI LETTERE E FILOSOFIA DOTTORATO DI RICERCA IN FILOLOGIA E STORIA DEL MONDO ANTICO XXVI CICLO ARTEMIS AND VIRGINITY IN ANCIENT GREECE TUTOR COTUTOR PROF. PIETRO VANNICELLI PROF. FRANCESCO GUIZZI 2 Dedication: To S & J with love and gratitude. Acknowledgements: I first and foremost wish to thank my tutor/advisor Professor Pietro Vannicelli and Co- Tutor Professor Francesco Guizzi for agreeing to serve in these capacities, for their invaluable advice and comments, and for their kind support and encouragement. I also wish to thank the following individuals who have lent intellectual and emotional support as well as provided invaluable comments on aspects of the thesis or offered advice and spirited discussion: Professor Maria Giovanna Biga, La Sapienza, and Professor Gilda Bartoloni, La Sapienza, for their invaluable support at crucial moments in my doctoral studies. Professor Emerita Larissa Bonfante, New York University, who proof-read my thesis as well as offered sound advice and thought-provoking and stimulating discussions. Dr. Massimo Blasi, La Sapienza, who proof-read my thesis and offered advice as well as practical support and encouragement throughout my doctoral studies. Dr. Yang Wang, Princeton University, who proof-read my thesis and offered many helpful comments and practical support. Dr. Natalia Manzano Davidovich, La Sapienza, who has offered intellectual, emotional, and practical support this past year. Our e-mail conversations about various topics related to our respective theses have