Marbleworkers in the Athenian Agora
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Fire Bow Drill
Making Fire With The Bow Drill When you are first learning bow-drill fire-making, you must make conditions and your bow drill set such that the chance of getting a coal is the greatest. If you do not know the feeling of a coal beginning to be born then you will never be able to master the more difficult scenarios. For this it is best to choose the “easiest woods” and practice using the set in a sheltered location such as a garage or basement, etc. Even if you have never gotten a coal before, it is best to get the wood from the forest yourself. Getting it from a lumber yard is easy but you learn very little. Also, getting wood from natural sources ensures you do not accidentally get pressure-treated wood which, when caused to smoulder, is highly toxic. Here are some good woods for learning with (and good for actual survival use too): ► Eastern White Cedar ► Staghorn Sumac ► Most Willows ► Balsam Fir ► Aspens and Poplars ► Basswood ► Spruces There are many more. These are centered more on the northeastern forest communities of North America. A good tree identification book will help you determine potential fire-making woods. Also, make it a common practice to feel and carve different woods when you are in the bush. A good way to get good wood for learning on is to find a recently fallen branch or trunk that is relatively straight and of about wrist thickness or bigger. Cut it with a saw. It is best if the wood has recently fallen off the tree. -
Beauty on Display Plato and the Concept of the Kalon
BEAUTY ON DISPLAY PLATO AND THE CONCEPT OF THE KALON JONATHAN FINE Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Jonathan Fine All rights reserved ABSTRACT BEAUTY ON DISPLAY: PLATO AND THE CONCEPT OF THE KALON JONATHAN FINE A central concept for Plato is the kalon – often translated as the beautiful, fine, admirable, or noble. This dissertation shows that only by prioritizing dimensions of beauty in the concept can we understand the nature, use, and insights of the kalon in Plato. The concept of the kalon organizes aspirations to appear and be admired as beautiful for one’s virtue. We may consider beauty superficial and concern for it vain – but what if it were also indispensable to living well? By analyzing how Plato uses the concept of the kalon to contest cultural practices of shame and honour regulated by ideals of beauty, we come to see not only the tensions within the concept but also how attractions to beauty steer, but can subvert, our attempts to live well. TABLE OF CONTENTS Acknowledgements ii 1 Coordinating the Kalon: A Critical Introduction 1 1 The Kalon and the Dominant Approach 2 2 A Conceptual Problem 10 3 Overview 24 2 Beauty, Shame, and the Appearance of Virtue 29 1 Our Ancient Contemporaries 29 2 The Cultural Imagination 34 3 Spirit and the Social Dimension of the Kalon 55 4 Before the Eyes of Others 82 3 Glory, Grief, and the Problem of Achilles 100 1 A Tragic Worldview 103 2 The Heroic Ideal 110 3 Disgracing Achilles 125 4 Putting Poikilia in its Place 135 1 Some Ambivalences 135 2 The Aesthetics of Poikilia 138 3 The Taste of Democracy 148 4 Lovers of Sights and Sounds 173 5 The Possibility of Wonder 182 5 The Guise of the Beautiful 188 1 A Psychological Distinction 190 2 From Disinterested Admiration to Agency 202 3 The Opacity of Love 212 4 Looking Good? 218 Bibliography 234 i ACKNOWLEDGEMENTS “To do philosophy is to explore one’s own temperament,” Iris Murdoch suggested at the outset of “Of ‘God’ and ‘Good’”. -
Notice of a Collection 01 Perforated Stone Objects, from the Garioch, Aberdeenshire
6 16 PROCEEDING SOCIETYE TH F O S , FEBRUARY 9, 1903. III. NOTICE OF A COLLECTION 01 PERFORATED STONE OBJECTS, FROM THE GARIOCH, ABERDEENSHIRE. BY J. GRAHAM CALLANDER, F.S.A. SOOT. Many perforated article f stono s f greateo e r leso r s antiquity have been found, the use of which we have no difficulty in defining. Among such article e stonar s e axes, stone hammers, whorls, beads d sinkan , - stones for nets or lines; but this collection of perforated stones from Central Aberdeenshire seems to be quite different from any of the recog- nised types. Localities.—The collection, which consist f sixty-fivo s e specimenss ha , been gathered during the last five years in the Garioch district of Aber- deenshire from eight different localitie n fivi s e parishes :—Elevee ar n from Newbigging, parish of Culsalmond ; one is from the Kirkyard of Culsalmond; five are from the adjoining farms of Jericho and Colpy, Culsalmond e froar m o Johnstonetw ; , paris f Leslio hs froi e me ;on Cushieston, parish of Rayne; one is from Lochend, Barra, parish of Bourtie; thre froe ear m Harlaw, paris f Chapeho f Garioco l fortyd an h; - one are from Logie-Elphinstone estate, also in Chapel of Garioch. e specimenth l Al s have bee e ploughnth turney b , p nonu d e having been found associated with burials or dwelling sites; at the same time many flint implements have been foun e localitiemosn th di f o t s named, especiall firste th , n yi third last-mentioned an , d ones, these I believe, , having been more thoroughly searched. -
History Lesson -- a Look at How Construction Tools Have Evolved
TOOLSCool R A Look at How Construction Tools Have Evolved By Steven Ferry As you purchase, use, repair or swear at the tools used on the job, you probably don’t give a second thought to how far we have come in our ability to swiftly and safe- ly erect and finish ever larger, taller and more durable homes, offices, factories and other buildings in the United States. In 400 years, we have moved from the crude grass and hide structures of the first settlers to timber, brick, con- crete, steel, glass and now plastic material-in the process freeing the builder from the need to also man- ufacture or find the building materials. We can create whatever climate we want indoors while remaining impervious to the one outside. Design tools have moved from ideas in the builder’s head, and the occasional sketch, to computers. Code officials, architects and consultants in everything from construction management to quality control have made building into a series and sequence of high- ly specialized activities that together bring about the fabulously efficient constructions of today—efficient in terms of outlay of effort in the construction and running of the buildings. Pivotal to all the successes in construction are the tools we use to accomplish the work on the job site. If Henry David Thoreau Published by AWCI 97 had thought back to the time he spent then finished with an “adz,” an ax building his cabin in the woods, he shaped like a hoe. The adz-man either might not have insisted that men had stood or sat on the timber and cut become the tools of their tools. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
The Athenian Agora
Excavations of the Athenian Agora Picture Book No. 12 Prepared by Dorothy Burr Thompson Produced by The Stinehour Press, Lunenburg, Vermont American School of Classical Studies at Athens, 1993 ISBN 87661-635-x EXCAVATIONS OF THE ATHENIAN AGORA PICTURE BOOKS I. Pots and Pans of Classical Athens (1959) 2. The Stoa ofAttalos II in Athens (revised 1992) 3. Miniature Sculpturefrom the Athenian Agora (1959) 4. The Athenian Citizen (revised 1987) 5. Ancient Portraitsfrom the Athenian Agora (1963) 6. Amphoras and the Ancient Wine Trade (revised 1979) 7. The Middle Ages in the Athenian Agora (1961) 8. Garden Lore of Ancient Athens (1963) 9. Lampsfrom the Athenian Agora (1964) 10. Inscriptionsfrom the Athenian Agora (1966) I I. Waterworks in the Athenian Agora (1968) 12. An Ancient Shopping Center: The Athenian Agora (revised 1993) I 3. Early Burialsfrom the Agora Cemeteries (I 973) 14. Graffiti in the Athenian Agora (revised 1988) I 5. Greek and Roman Coins in the Athenian Agora (1975) 16. The Athenian Agora: A Short Guide (revised 1986) French, German, and Greek editions 17. Socrates in the Agora (1978) 18. Mediaeval and Modern Coins in the Athenian Agora (1978) 19. Gods and Heroes in the Athenian Agora (1980) 20. Bronzeworkers in the Athenian Agora (1982) 21. Ancient Athenian Building Methods (1984) 22. Birds ofthe Athenian Agora (1985) These booklets are obtainable from the American School of Classical Studies at Athens c/o Institute for Advanced Study, Princeton, N.J. 08540, U.S.A They are also available in the Agora Museum, Stoa of Attalos, Athens Cover: Slaves carrying a Spitted Cake from Market. -
Learning the Hand-Drill Method of Fire-By-Friction
Learning the Hand-Drill Method for Fire-by-Friction by Kato Haws Friction fires are not very practical, but they can be fun. The hand-drill method is less technical than the bow-drill method. You can learn to do it. The following are some ideas of how to proceed: Cut a 3/8” dry horseweed stalk about 24” long for your spindle, and check to see if it is straight. (Horseweed is very wide spread. See Wikipedia for pictures of horseweed). If necessary straighten the spindle using a heat source. Heat it, bend it, remove it from the heat source, and hold it straight as it cools. It is important to have a straight spindle. It is possible to find horseweed stalks that are straight, it just takes more looking. Cut or split a baseboard of white cedar fencing (no hole cedar) from the lumberyard about 11” long and 3/8” thick. I personally mark the board with a straight edge and a pencil and then cut it with a saber saw, but many methods can be used. A table saw would be ideal if you have one and know how to use it properly. Using a knife make a 3/8” dimple about an inch from the end of the baseboard. Spin the spindle in the dimple to seat it in. You don’t have to get actual smoke at this point. The main thing is to make sure exactly the spindle wants to spin before proceeding. Cut an inverted “V” from the edge of the baseboard toward the center of the dimple. -
Greece • Crete • Turkey May 28 - June 22, 2021
GREECE • CRETE • TURKEY MAY 28 - JUNE 22, 2021 Tour Hosts: Dr. Scott Moore Dr. Jason Whitlark organized by GREECE - CRETE - TURKEY / May 28 - June 22, 2021 May 31 Mon ATHENS - CORINTH CANAL - CORINTH – ACROCORINTH - NAFPLION At 8:30a.m. depart from Athens and drive along the coastal highway of Saronic Gulf. Arrive at the Corinth Canal for a brief stop and then continue on to the Acropolis of Corinth. Acro-corinth is the citadel of Corinth. It is situated to the southwest of the ancient city and rises to an elevation of 1883 ft. [574 m.]. Today it is surrounded by walls that are about 1.85 mi. [3 km.] long. The foundations of the fortifications are ancient—going back to the Hellenistic Period. The current walls were built and rebuilt by the Byzantines, Franks, Venetians, and Ottoman Turks. Climb up and visit the fortress. Then proceed to the Ancient city of Corinth. It was to this megalopolis where the apostle Paul came and worked, established a thriving church, subsequently sending two of his epistles now part of the New Testament. Here, we see all of the sites associated with his ministry: the Agora, the Temple of Apollo, the Roman Odeon, the Bema and Gallio’s Seat. The small local archaeological museum here is an absolute must! In Romans 16:23 Paul mentions his friend Erastus and • • we will see an inscription to him at the site. In the afternoon we will drive to GREECE CRETE TURKEY Nafplion for check-in at hotel followed by dinner and overnight. (B,D) MAY 28 - JUNE 22, 2021 June 1 Tue EPIDAURAUS - MYCENAE - NAFPLION Morning visit to Mycenae where we see the remains of the prehistoric citadel Parthenon, fortified with the Cyclopean Walls, the Lionesses’ Gate, the remains of the Athens Mycenaean Palace and the Tomb of King Agamemnon in which we will actually enter. -
The Parthenon Frieze: Viewed As the Panathenaic Festival Preceding the Battle of Marathon
The Parthenon Frieze: Viewed as the Panathenaic Festival Preceding the Battle of Marathon By Brian A. Sprague Senior Seminar: HST 499 Professor Bau-Hwa Hsieh Western Oregon University Thursday, June 07, 2007 Readers Professor Benedict Lowe Professor Narasingha Sil Copyright © Brian A. Sprague 2007 The Parthenon frieze has been the subject of many debates and the interpretation of it leads to a number of problems: what was the subject of the frieze? What would the frieze have meant to the Athenian audience? The Parthenon scenes have been identified in many different ways: a representation of the Panathenaic festival, a mythical or historical event, or an assertion of Athenian ideology. This paper will examine the Parthenon Frieze in relation to the metopes, pediments, and statues in order to prove the validity of the suggestion that it depicts the Panathenaic festival just preceding the battle of Marathon in 490 BC. The main problems with this topic are that there are no primary sources that document what the Frieze was supposed to mean. The scenes are not specific to any one type of procession. The argument against a Panathenaic festival is that there are soldiers and chariots represented. Possibly that biggest problem with interpreting the Frieze is that part of it is missing and it could be that the piece that is missing ties everything together. The Parthenon may have been the only ancient Greek temple with an exterior sculpture that depicts any kind of religious ritual or service. Because the theme of the frieze is unique we can not turn towards other relief sculpture to help us understand it. -
A Mystery in Marble: Examining a Portrait Statue Through Science and Art
A Mystery in Marble: Examining a Portrait Statue through Science and Art lisa r. brody and carol e. snow Suffering from exposure to the elements, the purchased by a French private collector who unidentified woman was wrapped in a blan- placed the statue in a Parisian garden, where ket and shipped across the English Channel it endured two more decades of outdoor to an undisclosed location in Paris, her exact exposure to urban pollutants and acid rain. age and identity unknown. Later, traveling In December 2007, the piece was shipped with a French passport, she arrived in the to Sotheby’s in New York to be sold at an United States and made her way through the auction of Greek and Roman antiquities.2 streets of Manhattan to an elegant building Looking beyond the superficial, curators on the Upper East Side. Standing in a hall- and conservators from the Yale University way there on a cold December afternoon, the Art Gallery discerned the figure’s full poten- woman’s discolored appearance and awkward tial as a fine example of Roman sculpture pose attracted little attention (fig. 1). and arranged for its final journey to New The story of the Roman marble statue Haven, Connecticut. There, the story of a woman that is the subject of this article would continue to unfold through scholarly has the plot twists and intricacies of a pop- research, scientific analysis, and a lengthy ular novel. Although the very beginning conservation treatment. remains unwritten, the ending is a happy one The six-foot-tall marble statue of a for Yale. -
The Romanization of Attic Ritual Space in the Age of Augustus
The Romanization of Attic Ritual Space in the Age of Augustus Item Type text; Electronic Thesis Authors Benavides, Makayla Lorraine Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 14:30:47 Link to Item http://hdl.handle.net/10150/633170 THE ROMANIZATION OF ATTIC RITUAL SPACE IN THE AGE OF AUGUSTUS by Makayla Benavides ____________________________ Copyright © Makayla Benavides 2019 A Thesis Submitted to the Faculty of the DEPARTMENT OF RELIGIOUS STUDIES AND CLASSICS In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 1 7 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master's Committee, we certify that we have read the thesis prepared by Makayla Benavides titled The Romanizationof Attic Ritual Space in the Age ofAugustus and recommend that it be accepted as fulfillingthe dissertation requirement for the Master's Degree. Date: .r- / - :.?CJ/ 5f David Soren Date: S - I - 2..o I � Mary E Voyatzis David Gilman Romano Date: ----- [Committee Member Name} Final approval and acceptance of this thesis is contingent upon the candidate's submission of the final copies of the thesis to the Graduate College. I hereby certify that I have read this thesis prepared under my direction and recommend that it be accepted as fulfillingthe Master's requirement. -
Constructions of Childhood on the Funerary Monuments of Roman Athens Grizelda Mcclelland Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Summer 8-26-2013 Constructions of Childhood on the Funerary Monuments of Roman Athens Grizelda McClelland Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation McClelland, Grizelda, "Constructions of Childhood on the Funerary Monuments of Roman Athens" (2013). All Theses and Dissertations (ETDs). 1150. https://openscholarship.wustl.edu/etd/1150 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Classics Department of Art History and Archaeology Dissertation Examination Committee: Susan I. Rotroff, Chair Wendy Love Anderson William Bubelis Robert D. Lamberton George Pepe Sarantis Symeonoglou Constructions of Childhood on the Funerary Monuments of Roman Athens by Grizelda D. McClelland A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2013 St. Louis, Missouri © 2013, Grizelda Dunn McClelland Table of Contents Figures ...............................................................................................................................