DOCSLIB.ORG

Golden Gorgon-Medousa Artwork in Ancient Hellenic World

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Golden Gorgon-Medousa Artwork in Ancient Hellenic World SCIENTIFIC CULTURE, Vol. 5, No. 1, (2019), pp. 1-14 Copyright © 2019 SC Open Access. Printed in Greece. All Rights Reserved. DOI: 10.5281/zenodo.1451898 GOLDEN GORGON-MEDOUSA ARTWORK IN ANCIENT HELLENIC WORLD Lazarou, Anna 1University of Peloponnese, Dept of History, Archaeology and Cultural Resources Management Palaeo Stratopedo, 24100 Kalamata, Greece ([email protected]; [email protected]) Received: 15/06/2018 Accepted: 25/07/2018 ABSTRACT The purpose of this research is to highlight some characteristic examples of the golden works depicting the gorgoneio and Gorgon. These works are part of the wider chronological and geographical context of the ancient Greek world. Twenty six artifacts in total, mainly jewelry, as well as plates, discs, golden bust, coins, pendant and a vial are being examined. Their age dates back to the 6th century. B.C. until the 3rd century A.D. The discussion is about making a symbol of the deceased persist for long in the antiquity and showing the evolution of this form. The earliest forms of the Gorgo of the Archaic period depict a monster demon-like bellows, with feathers, snakes in the head, tongue protruding from the mouth and tusks. Then, in classical times, the gorgonian form appears with human characteristics, while the protruded tusks and the tongue remain. Towards Hellenistic times and until late antiquity, the gorgoneion has characteristics of a beautiful woman. Snakes are the predominant element of this gorgon, which either composes the gargoyle's hairstyle or is plundered like a jewel under its chin. This female figure with the snakes is interwoven with Gorgo- Medusa and the Perseus myth that had a wide reflection throughout the ancient times. KEYWORDS: Medusa, Gorgon, Gorgoneion, Hellenistic, Archaic, Golden, Typology, Comparison, images, protruded, Magna Grecia, antiquity, myth, Phiale 2 ANNA LAZAROU 1. INTRODUCTION Medusa appears in the ancient Hellenic World and colonies, with a geographic spread from Olbia The Gorgon-Medusa as a terror or beauty figure and Crimea of Black sea, to Libya, and eastern Iberia, has been widely used in ancient art. The Gorgon im- to Sicily, Near East and Bactrian Afganistan, as well age appears in several pieces of art and architectural as parallels in other parts of the World (Wilk, 2000). structures including e.g. the pediments of the Tem- From our survey, for first time, a gathered collec- ple of Artemis (c. 580 BC) in Corfu, the mid-6th cen- tion of 26 Gorgon-Medusa images made in gold are tury BC, life marble statue, in cups, in coins, burial attributed to excavation sites or broad regions of reliefs, shields, jewellery, ceramic vases (Johnson, origin from the wide ancient Hellenic World. This 1993). The materials that bear Medusa images range collection is typologically studied and critically as- from ceramics to marble, bronze, gold. Being one of sessed with respect to depictions in various other three sisters, known as the Gorgons, the Medusa1 is a scenes and materials. It represents a collection of particular figure. The three of them were born from many more golden medusa-gorgon artworks, worth Phorcys and Ceto. According to Hesiod's Theogony of discussing along the frame of period, style and (270-281), the Gorgons were the sisters of the Graeai purpose. and lived in the utmost place towards the night by the Hesperides beyond Oceanus (in later written 2. ANCIENT LITERATURE AND sources of Apollodorus, Graeai and the Gorgon sis- MYTHOLOGICAL SETTING ters are connected to Perseus myth). Medusa was There are several local myths about the magic decapitated by Perseus. properties of Gorgon-Medusa. In our present icono- However, later authors (Herodotus, Pausanias) graphy the major representations are gorgon-heads. place the Gorgons' abode in Libya. The Gorgon sis- The earliest written sources refer to an isolated gor- ters were Sthenno, Euryale, and Medusa; Medusa geii head (gorgon head or gorgoneion), without a was mortal while her sisters were immortal. body, which causes the terror to anyone who sees it. To define the difference between Gorgoneion, Gor- Then the sources report the head of the gorgon go, Medusa and Gorgon head; Gorgoneion and Gorgon (mermaid) or the gorgo or the gorgons, with a head is the head alone (Homer Iliad 5.741 and Odys- unique determination of the terror they cause. Alt- sy 11.634), and Gorgo is called the whole-body dae- hough the genealogy of the Perseus was known to mon and represents an apotropaic symbol. Medusa, Homer, its association with the gorgon is mentioned according to the myth, is one of the three gorgon for the first time in the Hesiod. The Theogony de- sisters. The Greeks made offerings to the "averting scribes the genealogy of medusa, one of the three gods" (ἀποτρόπαιοι θεοί, apotropaioi theoi), chthonic gorgons-mermaids, which is identified with more deities or procession of protective deities via a sym- characteristics and is associated with the Perseus. bolic depiction and heroes who grant safety and de- The decapitation of the gorgon-medusa, the birth of flect evil (Liritzis et al., 2017). the Pegasus and Chrysaor (the golden sword bearer), The Gorgon became a popular shield design in an- the treatment of her head with the fossil property by tiquity along with being an apotropaic (warding off Perseus, are mythical elements that are embellished evil) agent. In fact, the goddess Athena and Zeus and associated with other mythological persons and were often portrayed with a shield (or aegis) depict- mythological affairs giving food to the writers and ing the head of a Gorgon, who is typically believed the poets until Late Antiquity and Renaissance. At to be Medusa. the same time, and as it emerges from the written There exist several archaeological examples of the sources, the individual gorgonian head, is going Gorgon's face being used on breastplates, in mosaics through a remarkable course independent of medu- and even as bronze end pieces on ship beams in the sa. Roman period. Perhaps the most famous example of For the genealogy of Perseus and his relationship Medusa in art in antiquity was the Athena Parthenos with Medusa, the poet Ferekides wrote in the 5th statue from the Parthenon which was made by Phid- century. B.C. King Akrisius had received an oracle ias and described by Pausanias. This statue of Athe- according to which he would die from the hands of na depicts a Gorgon's face on the goddess' breast- his unborn grandfather. That's why she decided to plate. In Greek mythology there is, also, Hesiod's lock his daughter Danae along with her breast feeder description of Hercules' shield which describes the in an underground prison whose walls were covered events of Perseus and Medusa (Hesiod, Theogony, with metal plates. Danae, however, fell in love with 270-281). Jupiter, who transformed her into a golden rain and so entered her prison. From this union Perseus was 1 Etymological interpretation of word Medusa=Μέδουσα, born. Akrisius, when he heard the cry of the child from verb μεδώ/medo= guard and protect. and learned about the birth of his grandson, killed SCIENTIFIC CULTURE, Vol. 5, No 1, (2019), pp. 1-14 GOLDEN GORGON-MEDOUSA ARTWORK IN ANCIENT HELLENIC WORLD 3 the breast feeder and locked Danae and the little chthonian creature residing in the most distant Perseus into a trunk threw it into the sea. The chest points to the earth, the hades underworld, and, also was washed in Seriphos, where it was picked up by in the sea having marine origin too. The latter is ex- the fisherman Dikty and transferred to his brother, tracted from the symbolic genealogical cycle consist- King Polydektes, thus saving the life of mother and ing of marine-related deities. son. According to Pherecydis, Polydektes was treat- 3. TYPOLOGICAL ANALYSIS IN ing them "as if they were relatives of him". There Perseus was grew up too. But Polydektes finally CHRONOLOGICAL ORDER loved Danae. In a sporting event by King Poly- The jewels bear witness to the great development dektes, Perseus prided himself on bringing the head of gold jewelry in Athens in the 9th century and are of Medusa, the mortal Mermaid of the three sisters, decorated with the granulation 2 and filigree (wire and was endowed with the tremendous power of technique)3 that require close coaching and persis- stoning men who looked at her. The King seized the tent practice. opportunity to exterminate Perseus once and for all The development of Gorgon – Medusa in art dur- to marry Danae, holding Perseus a hindrance and ing the archaic to late antiquity is presented with the giving him the murder of the Gorgons sure to kill golden artifacts per Museum collection. him. Perseus, however, helped by the gods turned triumphant, especially he was helped in his conquest 3.1 ARCHAIC PERIOD to acquire Medusa's head from Athena and Mercury. The Archaic era, 7th and 6th c. BC, is a time of They helped him to secure the hood of Hades to great social and political change (Garland & Dillon, make him invisible, the feathered sandals for run- 1994; Jeffery, 1976). Transformation of racial society ning fast, and a sack (kivisis) to put the head of Me- into politics has already taken place. The city as a dusa. With these magic paraphernalia and the pro- state consisted more as a city and more towns. The tection of the gods, Perseus was able to defeat Me- kings were initially elected, but later they became dusa while she was asleep. At the time of her death hereditary. The kingdom was succeeded by the aris- Pegasus the sacred winged horse and Chrysaor the tocracy and price control.
Load more

Recommended publications
  • Art of Byzantium from Greek Collections October 6, 2013 - March 2, 2014
    Updated Tuesday, December 31, 2013 | 1:38:43 PM Last updated Tuesday, December 31, 2013 Updated Tuesday, December 31, 2013 | 1:38:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Heaven and Earth: Art of Byzantium from Greek Collections October 6, 2013 - March 2, 2014 To order publicity images: Publicity images are available only for those objects accompanied by a thumbnail image below. Please email [email protected] or fax (202) 789-3044 and designate your desired images, using the “File Name” on this list. Please include your name and contact information, press affiliation, deadline for receiving images, the date of publication, and a brief description of the kind of press coverage planned. Links to download the digital image files will be sent via e-mail. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Important: The images displayed on this page are for reference only and are not to be reproduced in any media. Cat. No. 1A / File Name: 3514-117.jpg Statuette of Europa, 1st or early 2nd century marble height: 34.5 cm (13 9/16 in.) Archaeological Museum of Ancient Corinth Cat. No. 1B / File Name: 3514-118.jpg Head of Pan, 2nd century (?) marble height: 14.4 cm (5 11/16 in.) Archaeological Museum of Ancient Corinth Cat.
    [Show full text]
  • Click Above for a Preview, Or Download
    JACK KIRBY COLLECTOR THIRTY-NINE $9 95 IN THE US . c n I , s r e t c a r a h C l e v r a M 3 0 0 2 © & M T t l o B k c a l B FAN FAVORITES! THE NEW COPYRIGHTS: Angry Charlie, Batman, Ben Boxer, Big Barda, Darkseid, Dr. Fate, Green Lantern, RETROSPECTIVE . .68 Guardian, Joker, Justice League of America, Kalibak, Kamandi, Lightray, Losers, Manhunter, (the real Silver Surfer—Jack’s, that is) New Gods, Newsboy Legion, OMAC, Orion, Super Powers, Superman, True Divorce, Wonder Woman COLLECTOR COMMENTS . .78 TM & ©2003 DC Comics • 2001 characters, (some very artful letters on #37-38) Ardina, Blastaar, Bucky, Captain America, Dr. Doom, Fantastic Four (Mr. Fantastic, Human #39, FALL 2003 Collector PARTING SHOT . .80 Torch, Thing, Invisible Girl), Frightful Four (Medusa, Wizard, Sandman, Trapster), Galactus, (we’ve got a Thing for you) Gargoyle, hercules, Hulk, Ikaris, Inhumans (Black OPENING SHOT . .2 KIRBY OBSCURA . .21 Bolt, Crystal, Lockjaw, Gorgon, Medusa, Karnak, C Front cover inks: MIKE ALLRED (where the editor lists his favorite things) (Barry Forshaw has more rare Kirby stuff) Triton, Maximus), Iron Man, Leader, Loki, Machine Front cover colors: LAURA ALLRED Man, Nick Fury, Rawhide Kid, Rick Jones, o Sentinels, Sgt. Fury, Shalla Bal, Silver Surfer, Sub- UNDER THE COVERS . .3 GALLERY (GUEST EDITED!) . .22 Back cover inks: P. CRAIG RUSSELL Mariner, Thor, Two-Gun Kid, Tyrannus, Watcher, (Jerry Boyd asks nearly everyone what (congrats Chris Beneke!) Back cover colors: TOM ZIUKO Wyatt Wingfoot, X-Men (Angel, Cyclops, Beast, n their fave Kirby cover is) Iceman, Marvel Girl) TM & ©2003 Marvel Photocopies of Jack’s uninked pencils from Characters, Inc.
    [Show full text]
  • Eclectic Antiquity Catalog
    Eclectic Antiquity the Classical Collection of the Snite Museum of Art Compiled and edited by Robin F. Rhodes Eclectic Antiquity the Classical Collection of the Snite Museum of Art Compiled and edited by Robin F. Rhodes © University of Notre Dame, 2010. All Rights Reserved ISBN 978-0-9753984-2-5 Table of Contents Introduction..................................................................................................................................... 1 Geometric Horse Figurine ............................................................................................................. 5 Horse Bit with Sphinx Cheek Plates.............................................................................................. 11 Cup-skyphos with Women Harvesting Fruit.................................................................................. 17 Terracotta Lekythos....................................................................................................................... 23 Marble Lekythos Gravemarker Depicting “Leave Taking” ......................................................... 29 South Daunian Funnel Krater....................................................................................................... 35 Female Figurines.......................................................................................................................... 41 Hooded Male Portrait................................................................................................................... 47 Small Female Head......................................................................................................................
    [Show full text]
  • NEW EOT-English:Layout 1
    TOUR OF ATHENS, stage 10 FROM OMONIA SQUARE TO KYPSELI Tour of Athens, Stage 10: Papadiamantis Square), former- umental staircases lead to the 107. Bell-shaped FROM MONIA QUARE ly a garden city (with villas, Ionian style four-column propy- idol with O S two-storey blocks of flats, laea of the ground floor, a copy movable legs TO K YPSELI densely vegetated) devel- of the northern hall of the from Thebes, oped in the 1920’s - the Erechteion ( page 13). Boeotia (early 7th century suburban style has been B.C.), a model preserved notwithstanding 1.2 ¢ “Acropol Palace” of the mascot of subsequent development. Hotel (1925-1926) the Athens 2004 Olympic Games A five-story building (In the photo designed by the archi- THE SIGHTS: an exact copy tect I. Mayiasis, the of the idol. You may purchase 1.1 ¢Polytechnic Acropol Palace is a dis- tinctive example of one at the shops School (National Athens Art Nouveau ar- of the Metsovio Polytechnic) Archaeological chitecture. Designed by the ar- Resources Fund – T.A.P.). chitect L. Kaftan - 1.3 tzoglou, the ¢Tositsa Str Polytechnic was built A wide pedestrian zone, from 1861-1876. It is an flanked by the National archetype of the urban tra- Metsovio Polytechnic dition of Athens. It compris- and the garden of the 72 es of a central building and T- National Archaeological 73 shaped wings facing Patision Museum, with a row of trees in Str. It has two floors and the the middle, Tositsa Str is a development, entrance is elevated. Two mon- place to relax and stroll.
    [Show full text]
  • FOR IMMEDIATE RELEASE September 11, 2014 MEDIA CONTACTS: Rebecca Baldwin Nina Litoff (312) 443-3625 (312) 443-3363 [email protected] [email protected]
    FOR IMMEDIATE RELEASE September 11, 2014 MEDIA CONTACTS: Rebecca Baldwin Nina Litoff (312) 443-3625 (312) 443-3363 [email protected] [email protected] THE ART INSTITUTE OF CHICAGO PRESENTS HEAVEN AND EARTH: ART OF BYZANTIUM FROM GREEK COLLECTIONS Over 60 Works From Greece Represent Life in the Empire that Lasted for More than a Millennium A new exhibition at the Art Institute of Chicago, Heaven and Earth: Art of Byzantium from Greek Collections, presents more than 60 superb artworks of the Byzantine era, from the 4th to the 15th centuries. Organized by the Hellenic Ministry of Culture and Sports of Athens, Greece, with the collaboration of the Benaki Museum, Athens, and originally exhibited at the National Gallery of Art in Washington, DC, and the J. Paul Getty Museum in Los Angeles, the exhibition includes major artistic holdings from Greece consisting of mosaics, sculptures, manuscripts, luxury glass, silver, personal adornments, liturgical textiles, icons, and wall paintings. About one third of the original exhibition will be presented in the Art Institute’s Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art from September 27, 2014, through February 15, 2015. For more than 1,000 years, Greece was part of the vast Byzantine Empire, established in 330 A.D. by the emperor Constantine the Great, who moved the capital of the Roman Empire east to a small town named Byzantium in modern-day Turkey. Renamed for him and transformed into Constantinople, Byzantium would come to represent an empire of splendor and power that endured for more than a millennium. Greek replaced Latin as the official language, and Greece itself was home to important centers of theology, scholarship, and artistic production—as 1 evidenced by the luxurious manuscripts displayed in the exhibition.
    [Show full text]
  • ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
    ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J.
    [Show full text]
  • Ciné Paris Plaka Kidathineon 20
    CINÉ PARIS PLAKA KIDATHINEON 20 UPDATED: MAY 2019 Dear Guest, Thank you for choosing Ciné Paris Plaka for your stay in Athens. You have chosen an apartment in the heart of Athens, in the old town of Plaka. In the shadow of the Acropolis and its ancient temples, hillside Plaka has a village feel, with narrow cobblestone streets lined with tiny shops selling jewelry, clothes, local ceramics and souvenirs. Sidewalk cafes and family-run taverns stay open until late, and Cine Paris (next door) shows classic movies al fresco. Nearby, the whitewashed homes of the Anafiotika neighborhood give the small enclave a Greek-island vibe. Following is a small list of recommendations and useful information for you. It is by no means an exhaustive list as there are too many places to eat, drink and sight-see than we could possibly put down. Rather, this is a list of places that we enjoy and that our guests seem to like. We find that our guests like to discover things themselves. After all is that not a great part of the joy of traveling? To discover new experiences and places. We wish you a wonderful stay, and we hope you love Athens! __________________________________________________ The site to purchase tickets online for the Acropolis and slopes, The Temple of Olympian Zeus, Kerameikos, Ancient Agora, Roman Agora, Adrians Library and Aristotle's School is here https://etickets.tap.gr/ Once you access the site in the left-hand corner there are the letters EΛ|EN; click on the EN for English. MUSEUMS THE ACROPOLIS MUSEUM, Dionysiou Areopagitou 15, Athens 117 42 Summer season hours (1/4 – 31/10) Winter season hours (1/11 – 31/3) Monday 8:00 - 16:00 Monday – Thursday 9:00 - 17:00 Tuesday – Sunday 8:00 – 20:00 Friday 9:00 - 22:00 Friday 8:00 a.m.
    [Show full text]
  • Coverpage Final
    Symbols and Objects on the Sealings from Kedesh A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Paul Lesperance IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Professor Andrea Berlin August 2010 © Paul Lesperance, 2010 Acknowledgements I have benefitted greatly from the aid and support of many people and organizations during the writing of this dissertation. I would especially like to thank my advisor, Professor Andrea Berlin, for all her help and advice at all stages of the production process as well as for suggesting the topic to me in the first place. I would also like to thank all the members of my dissertation committee (Professor Susan Herbert of the University of Michigan, as well as Professors Philip Sellew and Nita Krevans of the University of Minnesota) for all their help and support. During the writing process, I benefitted greatly from a George A. Barton fellowship to the W. F. Albright Institute of Archaeological Research in Jerusalem in the fall of 2009. I would like to thank the fellowship committee for giving me such a wonderful and productive opportunity that helped me greatly in this endeavour as well as the staff of the Albright for their aid and support. I would also like to thank both Dr. Donald Ariel of the Israel Antiquities Authority for his aid in getting access to the material and his valuable advice in ways of looking at it and Peter Stone of the University of Cincinnati whose discussions on his work on the pottery from Kedesh helped to illuminate various curious aspects of my own.
    [Show full text]
  • Conference Guide
    Conference Guide Conference Venue Conference Location: Radisson Blu Athens Park Hotel 5* 5Hotel Athens” Radisson Blu Park Hotel Athens first opened its doors in 1976 on the border of the central park of Athens, Pedion Areos (Martian Field), in a safe part of the city. For 35 years the lovely park has been a wonderful host and marked the very identity of this leading deluxe hotel. Now, we thought, it is time for the hotel to host the park inside. This was the inspiration behind our recent renovation, which came to prove a virtual rebirth for Park Hotel Athens. Address: 10 Alexandras Ave. -10682 Athens-Greece Tel: +30 210 8894500 Fax: +30 210 8238420 URL: http://www.rbathenspark.com/index.php History of Athens According to tradition, Athens was governed until c.1000 B.C. by Ionian kings, who had gained suzerainty over all Attica. After the Ionian kings Athens was rigidly governed by its aristocrats through the archontate until Solon began to enact liberal reforms in 594 B.C. Solon abolished serfdom, modified the harsh laws attributed to Draco (who had governed Athens c.621 B.C.), and altered the economy and constitution to give power to all the propertied classes, thus establishing a limited democracy. His economic reforms were largely retained when Athens came under (560–511 B.C.) the rule of the tyrant Pisistratus and his sons Hippias and Hipparchus. During this period the city's economy boomed and its culture flourished. Building on the system of Solon, Cleisthenes then established a democracy for the freemen of Athens, and the city remained a democracy during most of the years of its greatness.
    [Show full text]
  • Apotropaism and Liminality
    Gorgo: Apotropaism and Liminality An SS/HACU Division III by Alyssa Hagen Robert Meagher, chair Spring 2007 Table of Contents List of Figures................................................................................................................ 1 Introduction.................................................................................................................... 3 Chapter 1: Gorgon and Gorgoneion.............................................................................. 5 Chapter 2: Gorgo as a Fertility Goddess....................................................................... 15 Chapter 3: Gorgo as the Guardian of Hades................................................................. 29 Chapter 4: Gorgo in Ecstatic Ritual............................................................................... 41 Chapter 5: Gorgo in the Sphere of Men......................................................................... 51 Bibliography................................................................................................................... 64 Alyssa Hagen 1 List of Figures 1.1 Attic black figure neck amphora. (J. Paul Getty Museum, Malibu 86 AE77. Image 7 from [http://www.theoi.com/Gallery/P23.12.html].) 1.2 Mistress of Animals amulet from Ulu Burun shipwreck. (Bochum, Deutsches 9 Bergbau-Museums 104. Image from [http://minervamagazine.com/issue1704/ news.html].) 1.3 Egyptian amulet of Pataikos. (Image from Virtual Egyptian Museum 10 [http://www.virtual-egyptian-museum.org].) 1.4 Etruscan roof antefix with
    [Show full text]
  • 2020 Adoptions
    Dimitris Arvanitakis: Head of the Publications Department Born in Zakynthos, Dimitris Arvanitakis is a graduate of the Department of Byzantine and Modern Greek Studies of the University of Athens. As a fellow of the Academy of Athens from 1995 to 1999, he conducted research for his doctoral dissertation at Istituto di Studi Bizantini e Postbizantini of Venice, which was successfully defended at the Ionian University in Corfu (1999). His scientific interests span a wide range of topics: social history, history of ideas and intellectual history, history of literature and historiography, Modern Greek and Italian history, and the formation of national states. Since 2000, he has been working at the Benaki Museum and since 2006 he has been in charge of the Publications Department. In his capacity as Head of Publications, he has overseen and coordinated the publication of a great number of the Museum’s exhibition and collections catalogues and has been scientific editor of many books, including the series Benaki Museum Library. Dimitris Arvanitakis has taught in postgraduate seminars in Greece and Italy, has organized scientific conferences and has edited a number of scientific volumes. Moreover, he has published many articles in scientific volumes, journals and conference proceedings. He is a member of the Editorial Secretariat of the Greek journal Ta Istorika and the Italian journal Periptero, member of the Review Team of the journal Giornale Storico della Letteratura Italiana, Scientific Director of the Casa di Ugo Foscolo / Hugo Foscolo’s House (Zakynthos), and since 2009 he has been a Member and Coordinator of the Scientific Committee which oversees the publication of Andreas Kalvos’ Works by the Benaki Museum.
    [Show full text]
  • Comic Books Vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S
    University of Texas at Tyler Scholar Works at UT Tyler English Department Theses Literature and Languages Spring 4-30-2012 Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S. Latham Follow this and additional works at: https://scholarworks.uttyler.edu/english_grad Part of the English Language and Literature Commons Recommended Citation Latham, Andrew S., "Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar" (2012). English Department Theses. Paper 1. http://hdl.handle.net/10950/73 This Thesis is brought to you for free and open access by the Literature and Languages at Scholar Works at UT Tyler. It has been accepted for inclusion in English Department Theses by an authorized administrator of Scholar Works at UT Tyler. For more information, please contact [email protected]. COMIC BOOKS VS. GREEK MYTHOLOGY: THE ULTIMATE CROSSOVER FOR THE CLASSICAL SCHOLAR by ANDREW S. LATHAM A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English Department of Literature and Languages Paul Streufert, Ph.D., Committee Chair College of Arts and Sciences The University of Texas at Tyler May 2012 Acknowledgements There are entirely too many people I have to thank for the successful completion of this thesis, and I cannot stress enough how thankful I am that these people are in my life. In no particular order, I would like to dedicate this thesis to the following people… This thesis is dedicated to my mother and father, Mark and Seba, who always believe in me, despite all evidence to the contrary.
    [Show full text]