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The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; Proquest Pg
The Conditions of Dramatic Production to the Death of Aeschylus Hammond, N G L Greek, Roman and Byzantine Studies; Winter 1972; 13, 4; ProQuest pg. 387 The Conditions of Dramatic Production to the Death of Aeschylus N. G. L. Hammond TUDENTS of ancient history sometimes fall into the error of read Sing their history backwards. They assume that the features of a fully developed institution were already there in its earliest form. Something similar seems to have happened recently in the study of the early Attic theatre. Thus T. B. L. Webster introduces his excellent list of monuments illustrating tragedy and satyr-play with the following sentences: "Nothing, except the remains of the old Dionysos temple, helps us to envisage the earliest tragic background. The references to the plays of Aeschylus are to the lines of the Loeb edition. I am most grateful to G. S. Kirk, H. D. F. Kitto, D. W. Lucas, F. H. Sandbach, B. A. Sparkes and Homer Thompson for their criticisms, which have contributed greatly to the final form of this article. The students of the Classical Society at Bristol produce a Greek play each year, and on one occasion they combined with the boys of Bristol Grammar School and the Cathedral School to produce Aeschylus' Oresteia; they have made me think about the problems of staging. The following abbreviations are used: AAG: The Athenian Agora, a Guide to the Excavation and Museum! (Athens 1962). ARNon, Conventions: P. D. Arnott, Greek Scenic Conventions in the Fifth Century B.C. (Oxford 1962). BIEBER, History: M. Bieber, The History of the Greek and Roman Theatre2 (Princeton 1961). -
The Athenian Agora : Museum Guide / by Laura Gawlinski ; with Photographs by Craig A
The Athenian Agora Agora Athenian The Museum Guide Above: Inside the main gallery of the Athenian Agora Museum. Front cover: Poppies in the Athenian Agora front the reconstructed Stoa of Attalos which houses the Agora Museum. Photos: C. A. Mauzy Written for the general visitor, the Athenian Agora Museum Guide is a companion to the 2010 edition of the Athenian Agora Site Guide and leads the reader through the display spaces within the Agora’s Stoa of Attalos—the terrace, the ground-floor colonnade, and the newly opened upper story. The guide discusses each case in the museum gallery chronologically, beginning with the prehistoric Gawlinski and continuing with the Geometric, Archaic, Classical, Hellenistic, Roman, and Byzantine periods. Hundreds of artifacts, ranging from ©2014 American School of Classical Studies at Athens Museum Guide common pottery to elite jewelry, are described and illustrated in color for the first time. Through brief fifth EDItION essays, readers can learn about marble- working, early burial practices, pottery Laura Gawlinski production, ostracism, home life, and the wells that dotted the ancient site. A time- ASCSA with photographs by line and maps accompany the text. Craig A. Mauzy Museum Guide ©2014 American School of Classical Studies at Athens ©2014 American School of Classical Studies at Athens The american school of classical studies at athens PRINCETON, New Jersey Museum Guide fifth EDItION Laura Gawlinski with photographs by Craig A. Mauzy ©2014 American School of Classical Studies at Athens The american school of classical studies at athens PRINCETON, New Jersey Copyright 2014. The American School of Classical Studies at Athens. -
Let's Go to the Acropolis Peripatos
Let’s Go to the Acropolis Peripatos A Child’s Pathfinder Ministry of Culture Acropolis Restoration Service First Ephorate of Prehistoric & Classical Antiquities Department of Information & Education ➢ ¡ 5 4 3 1 2 The Acropolis Peripatos down to the 2nd century A.C. 6 1. Klepsydra 8. Theatre of Dionysos 2. Sanctuary of Apollo 9. Two Temples of Dionysos 3. Sanctuary of Zeus 10. Choregic Monument of Thrasyllos 4. Sanctuary of Pan & the Nymphs 11. Choregic Monument of Nikias 5. Sanctuary of Aphrodite & Eros 12. Asklepieion 6. Aglaureion 13. Stoa of Eumenes 7. Odeion of Pericles 14. Odeion of Herodes Attikos 10 12 14 7 13 8 11 9 9 He opened his eyes and he made a wish that this time it would really be daylight. Three times during the night he had waked up thinking it was morning. He could hardly wait for this special day to come. This was the day that his tutor, his paidagogos, Phoinikas, had promised to take him to the Sanctuary of Asklepios, just below the Acropolis. There he could ask the god, who was the patron of medicine, to grant him his great wish: to become some day himself a physician, to help his fellow human beings, to lessen pain and to cure illness, even the most difficult and severe! He was sure the healer-god would make his dream come true… Phoinikas had told him that Asklepios was the oldest and best physician of all time, way ahead of all the others. It was even said that he could raise the dead; and there was a story that once upon a time Hades, the god of the Underworld, had complained to Zeus that Asklepios had raised so many of the dead that there were fewer people living in his underworld kingdom, which was in danger of becoming empty. -
Storytelling and Community: Beyond the Origins of the Ancient
STORYTELLING AND COMMUNITY: BEYOND THE ORIGINS OF THE ANCIENT THEATRE, GREEK AND ROMAN by Sarah Kellis Jennings Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of Theatre Texas Christian University Fort Worth, Texas May 3, 2013 ii STORYTELLING AND COMMUNITY: BEYOND THE ORIGINS OF THE ANCIENT THEATRE, GREEK AND ROMAN Project Approved: T.J. Walsh, Ph.D. Department of Theatre (Supervising Professor) Harry Parker, Ph.D. Department of Theatre Kindra Santamaria, Ph.D. Department of Modern Language Studies iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................iv INTRODUCTION ...............................................................................................................1 GREEK THEATRE .............................................................................................................1 The Dithyramb ................................................................................................................2 Grecian Tragedy .............................................................................................................4 The Greek Actor ............................................................................................................. 8 The Satyr Play ................................................................................................................9 The Greek Theatre Structure and Technical Flourishes ...............................................10 Grecian -
Stoa Poikile) Built About 475-450 BC
Arrangement Classical Greek cities – either result of continuous growth, or created at a single moment. Former – had streets –lines of communication, curving, bending- ease gradients. Later- had grid plans – straight streets crossing at right angles- ignoring obstacles became stairways where gradients were too steep. Despite these differences, certain features and principles of arrangement are common to both. Greek towns Towns had fixed boundaries. In 6th century BC some were surrounded by fortifications, later became more frequent., but even where there were no walls - demarcation of interior and exterior was clear. In most Greek towns availability of area- devoted to public use rather than private use. Agora- important gathering place – conveniently placed for communication and easily accessible from all directions. The Agora Of Athens • Agora originally meant "gathering place" but came to mean the market place and public square in an ancient Greek city. It was the political, civic, and commercial center of the city, near which were stoas, temples, administrative & public buildings, market places, monuments, shrines etc. • The agora in Athens had private housing, until it was reorganized by Peisistratus in the 6th century BC. • Although he may have lived on the agora himself, he removed the other houses, closed wells, and made it the centre of Athenian government. • He also built a drainage system, fountains and a temple to the Olympian gods. • Cimon later improved the agora by constructing new buildings and planting trees. • In the 5th century BC there were temples constructed to Hephaestus, Zeus and Apollo. • The Areopagus and the assembly of all citizens met elsewhere in Athens, but some public meetings, such as those to discuss ostracism, were held in the agora. -
The Form of the Orchestra in the Early Greek Theater
THE FORM OF THE ORCHESTRA IN THE EARLY GREEK THEATER (PLATE 89) T HE "orchestra" was essentially a dancing place as the name implies.' The word is generally used of the space between the seats and the scene-building in the ancient theater. In a few theaters of a developed, monumental type, such as at Epidauros (built no earlier than 300 B.C.), the orchestra is defined by a white marble curb which forms a complete circle.2 It is from this beautiful theater, known since 1881, and from the idea of a chorus dancing in a circle around an altar, that the notion of the orchestra as a circular dancing place grew.3 It is not surprising then that W. D6rpfeld expected to find an original orchestra circle when he conducted excavations in the theater of Dionysos at Athens in 1886. The remains on which he based his conclusions were published ten years later in his great work on the Greek theater, which included plans and descriptions of eleven other theaters. On the plan of every theater an orchestra circle is restored, although only at Epidauros does it actually exist. The last ninety years have produced a long bibliography about the form of the theater of Dionysos in its various periods and about the dates of those periods, and much work has been done in the field to uncover other theaters.4 But in all the exam- 1 opXeaat, to dance. Nouns ending in -arrpa signify a place in which some specific activity takes place. See C. D. Buck and W. -
The Acropolis Museum: Contextual Contradictions, Conceptual Complexities by Ersi Filippopoulou
The Acropolis Museum: Contextual Contradictions, Conceptual Complexities by Ersi Filippopoulou 20 | MUSEUM international rsi Filippopoulou is an architect and a jurist, specialised in archaeological museums planning and programming. She served as Director Eof Museum Studies in the Greek Ministry of Culture, and was also responsible for the new Acropolis museum project over 18 years. She worked as Director of the Greek Managing Authority for the European Union, co-financed cultural projects for six years. She served as an adjunct faculty member at the Departments of Architecture of the Universities of Thessaloniki and Patras, Greece. She was elected chairperson of the ICOM International Committee for Architecture and Museum Techniques (ICAMT) twice on a three-year mandate. Since 2012, she has been working as an advisor on heritage issues to the Peloponnese Regional Governor. She recently published a book entitled Τo neo Mouseio tis Acropolis—dia Pyros kai Sidirou, which retraces the new Acropolis Museum’s tumultuous history from its inception to its inauguration (Papasotiriou Publishers 2011). Her current research project is a comparative approach to the Greek archaeological museum paradigm. MUSEUM international | 21 he visitor to the new Acropolis Museum in Athens, climbing to the up- per floor and passing through the exhibition gallery door to an all-glass space flooded with natural light, is suddenly awestruck by the breathtak- ing view of the Parthenon rising up above the surrounding city (Fig. 1). Enjoying the holistic experience inspired by the natural and cultural landscape, the viewer is unaware of past controversies about the mu- seum’s location, and is certain that is the right place to be for anyone wishing to admire the ancient monument together with its architectur- al sculptures. -
Ciarán Lavelle 2010
THE ZIBBY GARNETT TRAVELLING FELLOWSHIP Report by Ciarán Lavelle Archaeological Conservation Agora Excavations, Athens, Greece 12 June - August 2010 Page | 1 Contents Page No…... 1. Introduction……………………………......................................................................3 2. The American School of Classical Studies at Athens………………………………4 3. The Athenian Agora………………………………………………………………….4 4. The Athenian Agora Excavations……....…………………………………………...6 5. The Agora Conservation Team & Conservation Laboratory………………...…...8 6. My work on the Conservation Team.……………………………………………...12 7. On-site Conservation…………………………………………………………….…18 8. Conservation Teaching & Workshops………………………………………….…19 9. Sightseeing in Greece…………………………………………………………….…20 10. Life in Greece…………………………………………………………………...…22 11. Conclusion………………………………………………………………………….23 Page | 2 1. Introduction My name is Ciaran Lavelle; I am a 28 year old from Northern Ireland. I am a recent graduate of the ‘Conservation of Objects for Museums and Archaeology’ Bachelor of Science degree program at Cardiff University in Wales. My goal for my career is find employment in the field of object conservation in a museum or in the private sector and become an accredited conservator. I completed the three year conservation degree in Cardiff University in two years as a direct entry student, which allowed me to combine first and second year. During my first year at Cardiff I learned about the American School of Classical Studies at Athens conservation internship program through a fellow Greek student. So during my final year I decided I should apply for the internship so as to gain post graduate experience in a world renowned archaeological excavation and was successful with my application for the nine week program. I heard about the Zibby Garnett Travelling Fellowship through a past recipient of the fund whom I worked with and became friends with while working in the Transport Museum in Glasgow. -
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. -
Meet the Philosophers of Ancient Greece
Meet the Philosophers of Ancient Greece Everything You Always Wanted to Know About Ancient Greek Philosophy but didn’t Know Who to Ask Edited by Patricia F. O’Grady MEET THE PHILOSOPHERS OF ANCIENT GREECE Dedicated to the memory of Panagiotis, a humble man, who found pleasure when reading about the philosophers of Ancient Greece Meet the Philosophers of Ancient Greece Everything you always wanted to know about Ancient Greek philosophy but didn’t know who to ask Edited by PATRICIA F. O’GRADY Flinders University of South Australia © Patricia F. O’Grady 2005 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Patricia F. O’Grady has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identi.ed as the editor of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington Surrey, GU9 7PT VT 05401-4405 England USA Ashgate website: http://www.ashgate.com British Library Cataloguing in Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask 1. Philosophy, Ancient 2. Philosophers – Greece 3. Greece – Intellectual life – To 146 B.C. I. O’Grady, Patricia F. 180 Library of Congress Cataloging-in-Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask / Patricia F. -
The "Agora" of Pausanias I, 17, 1-2
THE "AGORA" OF PAUSANIAS I, 17, 1-2 P AUSANIAS has given us a long description of the main square of ancient Athens, a place which we are accustomed to call the Agora following Classical Greek usage but which he calls the Kerameikos according to the usage of his own time. This name Kerameikos he uses no less than five times, and in each case it is clear that he is referringto the main square, the ClassicalAgora, of Athens. " There are stoas from the gates to the Kerameikos" he says on entering the city (I, 2, 4), and then, as he begins his description of the square, " the place called Kerameikoshas its name from the hero Keramos-first on the right is the Stoa Basileios as it is called " (I, 3, 1). Farther on he says " above the Kerameikosand the stoa called Basileios is the temple of Hephaistos " (I, 14, 6). Describing Sulla's captureof Athens in 86 B.C. he says that the Roman general shut all the Athenians who had opposed him into the Kerameikos and had one out of each ten of them killed (I, 20, 6). It is generally agreed that this refers to the Classical Agora. Finally, when visiting Mantineia in far-off Arcadia (VII, 9, 8) Pausanias reports seeing ".a copy of the painting in the Kerameikos showing the deeds of the Athenians at Mantineia." The original painting in Athens was in the Stoa of Zeus on the main square, and Pausanias had already described it in his account of Athens (I, 3, 4). -
With Archaeologist Kathleen Lynch
THE LEGACY OF Ancient Greece October 13-25, 2021 (13 days | 16 guests) with archaeologist Kathleen Lynch Delphi © Runner1928 Archaeology-focused tours for the curious to the connoisseur Archaeological Institute of America xperience the glories of Greece, from the Bronze Age to the Classical era and beyond, amid the variety of springtime landscapes of the mainland Lecturer & Host and the Peloponnese peninsula. This is a superb opportunity to ignite, Kathleen Lynch Eor reignite, your passion for the wonders of Greek archaeology, art, and ancient is Professor history and to witness how integral mythology, religion, drama, and literature of Classics at the University are to their understanding. This well-paced tour, from city to mountains to of Cincinnati seaside, spends a total of four nights in the modern yet historic capital, Athens; and a classical two nights in the charming port town of Nafplion; one night in Dimitsana, archaeologist with a medieval mountain village; two nights in Olympia, home of the original a focus on ancient Olympic Games; and two nights in the mountain resort town of Arachova, Greek ceramics. She earned her near Delphi. Ph.D. from the Highlights include: University of Virginia, and has worked on archaeological projects at sites in • SIX UNESCO World Heritage Sites: Greece (Athenian Agora, Olynthos, ˚ Athens’ Acropolis, with its stunning Parthenon and Erechtheion Corinth, Pylos), Turkey (Gordion, temples, plus the nearby Acropolis Museum; Troy), Italy (Morgantina), and Albania (Apollonia). Kathleen’s research considers ˚ the greatest ancient oracle, Delphi, located in a spectacular what ancient ceramics can tell us mountain setting; about their use and users.