Historicity of Drain the Marsh
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Athenians and Eleusinians in the West Pediment of the Parthenon
ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article. -
Excavating Classical Amphipolis & on the Lacedaemonian General
Adelphi University Adelphi Digital Commons Anthropology Faculty Publications Anthropology 12-1-2002 Excavating Classical Amphipolis & On the Lacedaemonian General Brasidas Chaido Koukouli-Chrysanthaki Anagnostis P. Agelarakis Adelphi University Follow this and additional works at: https://digitalcommons.adelphi.edu/ant_pubs Part of the Anthropology Commons Repository Citation Koukouli-Chrysanthaki, Chaido and Agelarakis, Anagnostis P., "Excavating Classical Amphipolis & On the Lacedaemonian General Brasidas" (2002). Anthropology Faculty Publications. 12. https://digitalcommons.adelphi.edu/ant_pubs/12 This Journal Article is brought to you for free and open access by the Anthropology at Adelphi Digital Commons. It has been accepted for inclusion in Anthropology Faculty Publications by an authorized administrator of Adelphi Digital Commons. For more information, please contact [email protected]. 3 Excavating Classical Amphipolis Chaido Koukouli -Chrysanthaki The excavations carried out by D. Lazaridis between discovered and excavated;5 there is strong evidence 1956 and 1984 uncovered part of the ancient city of that the city's theatre was located next to it. 6 Amphipolis and its cemeteries, 1 [fig. 1] namely the external walls, the acropolis and, within the walls, In the northern part of the city were discovered: the remains of public and private buildings. On the sanctuary of Klio/ founded during the earliest years acropolis, the Early Christian basilicas destroyed the of the colony; further to the west, a small sanctuary city's important sanctuaries - those of Artemis of Attis dating to the Hellenistic and Early Roman Tauropolos,2 Athena3 and Asclepios4 - which literary periods;8 and, outside the north wall, a small sanctu sources and fragmentary votive inscriptions locate ary of a nymph. -
(Eponymous) Heroes
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot. -
Epigraphic Bulletin for Greek Religion 1996
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 12 | 1999 Varia Epigraphic Bulletin for Greek Religion 1996 Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou Electronic version URL: http://journals.openedition.org/kernos/724 DOI: 10.4000/kernos.724 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1999 Number of pages: 207-292 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou, « Epigraphic Bulletin for Greek Religion 1996 », Kernos [Online], 12 | 1999, Online since 13 April 2011, connection on 15 September 2020. URL : http://journals.openedition.org/kernos/724 Kernos Kemos, 12 (1999), p. 207-292. Epigtoaphic Bulletin for Greek Religion 1996 (EBGR 1996) The ninth issue of the BEGR contains only part of the epigraphie harvest of 1996; unforeseen circumstances have prevented me and my collaborators from covering all the publications of 1996, but we hope to close the gaps next year. We have also made several additions to previous issues. In the past years the BEGR had often summarized publications which were not primarily of epigraphie nature, thus tending to expand into an unavoidably incomplete bibliography of Greek religion. From this issue on we return to the original scope of this bulletin, whieh is to provide information on new epigraphie finds, new interpretations of inscriptions, epigraphieal corpora, and studies based p;imarily on the epigraphie material. Only if we focus on these types of books and articles, will we be able to present the newpublications without delays and, hopefully, without too many omissions. -
The Odd Thesmophoria of Aristophanes' Thesmophoriazusae Habash, Martha Greek, Roman and Byzantine Studies; Spring 1997; 38, 1; Proquest Pg
The odd Thesmophoria of Aristophanes' Thesmophoriazusae Habash, Martha Greek, Roman and Byzantine Studies; Spring 1997; 38, 1; ProQuest pg. 19 The Odd Thesmophoria of Aristophanes' Thesmophoriaz usae Martha Habash EXPECTED FROM THE TITLE, Aristophanes' Thesmophoria zusae does in fact concern the Thesmophoria, that A:. annual, secret women's festival of Demeter and Kore held thoughout the Greek world. From line 277 the play is set at a Thesmophoria, but a very odd Thesmophoria, in which the poet demonstrates his bold, inventive, and creative genius at work in reshaping this 'festival'.1 Aristophanes employs suf ficient elements of the real Thesmophoria to make the pro ceedings recognizable, but he also adds as major components several non-Thesmophoric elements, introduced in part for sheer comic effect, and in part, I shall argue, to shape his Thes mophoria and his play into a form more arpropriate to the civic and religious purposes and atmosphere 0 the festival in which it was presented, the City Dionysia.2 I For studies of the poet's presentation of genuine Thesmophoric elements and themes, see H. Hansen, U Aristophanes' Thesmophoriazusae: Theme, Struc ture, and Production," Philologus 120 (1976) 165-85; A. Bowie, Aristophanes: Myth, Ritual and Comedy (Cambridge 1993); the role of mimesis in this play: F. Zeitlin, uTravesties of Gender and Genre in Aristophanes' Thesmo phoriazousae, " in H. Foley, ed., Reflections of Women in Antiquity (New York 1981) 169-217; M. DETIENNE, MThe Violence of Wellborn Ladies: Women in the Thesmophoria," in M. Detienne and J.-P. Vernant. edd., The Cuisine of Sacrifice among the Greeks, tr. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Silencing the Female Voice in Longus and Achilles Tatius
Silencing the female voice in Longus and Achilles Tatius Word Count: 12,904 Exam Number: B052116 Classical Studies MA (Hons) School of History, Classics and Archaeology University of Edinburgh B052116 Acknowledgments I am indebted to the brilliant Dr Calum Maciver, whose passion for these novels is continually inspiring. Thank you for your incredible supervision and patience. I’d also like to thank Dr Donncha O’Rourke for his advice and boundless encouragement. My warmest thanks to Sekheena and Emily for their assistance in proofreading this paper. To my fantastic circle of Classics girls, thank you for your companionship and humour. Thanks to my parents for their love and support. To Ben, for giving me strength and light. And finally, to the Edinburgh University Classics Department, for a truly rewarding four years. 1 B052116 Table of Contents Acknowledgments………………………………………………………………………….1 List of Abbreviations………………………………………………………………………3 Introduction ……………………………………………………………………………….4 Chapter 1: Through the Male Lens………………………………………………………6 The Aftertaste of Sophrosune……………………………………………………………….6 Male Viewers and Voyeuristic Fantasy.…………………………………………………....8 Narratorial Manipulation of Perspective………………………………………………….11 Chapter 2: The Mythic Hush…………………………………………………………….15 Echoing Violence in Longus……………………………………………………………….16 Making a myth out of Chloe………………………………………………………………..19 Leucippe and Europa: introducing the mythic parallel……………………………………21 Andromeda, Philomela and Procne: shifting perspectives………………………………...22 Chapter 3: Rupturing the -
Athens' Domain
Athens’ Domain: The Loss of Naval Supremacy and an Empire Keegan Laycock Acknowledgements This paper has a lot to owe to the support of Dr. John Walsh. Without his encouragement, guid- ance, and urging to come on a theoretically educational trip to Greece, this paper would be vastly diminished in quality, and perhaps even in existence. I am grateful for the opportunity I have had to present it and the insight I have gained from the process. Special thanks to the editors and or- ganizers of Canta/ἄειδε for their own patience and persistence. %1 For the Athenians, the sea has been a key component of culture, economics, and especial- ly warfare. The Peloponnesian War (431-404 BC) displayed how control of the waves was vital for victory. This was not wholly apparent at the start of the conflict. The Peloponnesian League was militarily led by Sparta who was the greatest land power in Greece; to them naval warfare was excessive. Athens, as the head of the Delian League, was the greatest sea power in Greece whose strengths lay in their navy. However, through a combination of factors, Athens lost control of the sea and lost the war despite being the superior naval power at the war’s outset. Ultimately, Athens lost because they were unable to maintain strong naval authority. The geographic position of Athens and many of its key resources ensured land-based threats made them vulnerable de- spite their naval advantage. Athens also failed to exploit their naval supremacy as they focused on land-based wars in Sicily while the Peloponnesian League built up a rivaling navy of its own. -
Central Balkans Cradle of Aegean Culture
ANTONIJE SHKOKLJEV SLAVE NIKOLOVSKI - KATIN PREHISTORY CENTRAL BALKANS CRADLE OF AEGEAN CULTURE Prehistory - Central Balkans Cradle of Aegean culture By Antonije Shkokljev Slave Nikolovski – Katin Translated from Macedonian to English and edited By Risto Stefov Prehistory - Central Balkans Cradle of Aegean culture Published by: Risto Stefov Publications [email protected] Toronto, Canada All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without written consent from the author, except for the inclusion of brief and documented quotations in a review. Copyright 2013 by Antonije Shkokljev, Slave Nikolovski – Katin & Risto Stefov e-book edition 2 Index Index........................................................................................................3 COMMON HISTORY AND FUTURE ..................................................5 I - GEOGRAPHICAL CONFIGURATION OF THE BALKANS.........8 II - ARCHAEOLOGICAL DISCOVERIES .........................................10 III - EPISTEMOLOGY OF THE PANNONIAN ONOMASTICS.......11 IV - DEVELOPMENT OF PALEOGRAPHY IN THE BALKANS....33 V – THRACE ........................................................................................37 VI – PREHISTORIC MACEDONIA....................................................41 VII - THESSALY - PREHISTORIC AEOLIA.....................................62 VIII – EPIRUS – PELASGIAN TESPROTIA......................................69 -
Athenian Empire 478To 404B.C. Formation Of
ATHENIAN EMPIRE 478 TO 404 B.C. FORMATION OF DELIAN LEAGUE TO FALL OF ATHENS ERA SUMMARY – ATHENIAN EMPIRE In the years following the Persian War, Athens was rebuilt and the Greek navy expanded its domination of the Aegean Sea. Further naval victories over Persia resulted in the freeing of several Ionian Greek colonies from the Persian yoke and the increased prestige of Greece as a sea power. Athenian control of the Greek navy was made possible the by creation of the Delian league, a group of Greek colonies located in the Aegean Sea united for defense. Although this league was nominally a confederation, it was dominated by Athens, and eventually became the foundation of the Athenian Empire. Athens became very wealthy due both to its domination of trade in the region and also to the inflow of tribute that had to be paid to Athens in return for protection from Persia. The most important statesmen in Athens in the years immediately after the Persian War, were Cimon, son of Miltiades, and Aristides. Both were involved in the organization of the Delian league and the rebuilding of Athens, including the construction of a fortified wall around the city to protect it from future invasions. Sparta opposed the building of walled cities, lest they fall into enemy hands, but the Athenians insisted and eventually a great wall was built from Athens to the sea, wide enough to drive two Chariots abreast. During the same period, great temples and state houses were built, funded mostly from the Delian league tributes, on a scale never before seen on the continent of Europe. -
A Study of Female Agency in the Homeric Hymn to Demeter Through Word and Illustration
A Study of Female Agency in The Homeric Hymn to Demeter through Word and Illustration Virginia Gan Shi White Submitted in Partial Fulfillment of the Prerequisite for Honors in The Classical Studies Department under the advisement of Catherine Gilhuly April 2017 © 2017 Virginia White 1 Acknowledgements I would like to thank Professor Gilhuly for all her support and guidance, without her this project would not have been possible. Also thank you to Professor McGibbon for teaching me so much about printmaking and for always pushing me artistically. 2 Introduction This project came out of finding a way to combine Studio Art with Classical Studies. As someone who has always been interested in storyboards, mapping art onto myth over a series of panels was a logical choice. I decided to take an ancient Greek story, analyze it, and then make illustrations. This project on The Homeric Hymn to Demeter is therefore broken into three parts: Part I – English Translation of The Homeric Hymn to Demeter Part II – The Influence of a Mother in The Homeric Hymn to Demeter Part III – A Visual Translation of The Homeric Hymn to Demeter By first doing a close reading of the myth, in the original Greek, I could extract a more nuanced understanding of what the myth said. I then chose to focus on Demeter’s agency which revolved around her role as a mother and her defiance against her husband, motivated by the love of her daughter. Finally, everything that I learned was filtered into a printmaking project. The goal of my illustrations was to represent the theories explored in Part I but also bring a new understanding to the myth that could only be achieved through image. -
The Shadow of Aristophanes: Hellenistic Poetry’S Reception of Comic Poetics*
Author manuscript: Published in M.A. Harder, R.F. Regtuit & G.C. Wakker (eds.) (2018) Drama and Performance in Hellenistic Poetry . Hellenistica Groningana 23. Leuven (Peeters): 225-271. THE SHADOW OF ARISTOPHANES: HELLENISTIC POETRY’S RECEPTION OF COMIC POETICS* Thomas J. Nelson The influence of Attic drama on Hellenistic poetry has been a topic of little consistent focus in recent scholarship. Most scholars are content merely to note individual cases of parallels with Attic comedy or tragedy, or lament the loss of many dramas which would doubtless prove illuminating intertexts were they to have survived.1 What emerges is thus a rather piecemeal picture of Hellenistic poetry’s engagement with earlier dramatic texts. There are, of course, some notable exceptions, such as explorations of the underlying tragic elements in Apollonius’ Argonautica and Callimachus’ Hecale ,2 as well as the analysis of comedy’s influence on individual Hellenistic poems. 3 Yet the full extent of Hellenistic poetry’s debt to Attic drama remains largely unexplored terrain.4 This lack of scholarly attention may in part reflect the common belief that Hellenistic poets display a largely negative attitude to drama, 5 but it must also stem from the traditional emphasis on Hellenistic poetry as a written artefact, detached from any immediate context of performance – apparently a far cry from the socially embedded performance-culture of fifth century Athens. As many contributions to this volume demonstrate, however, this fifth-third century dichotomy is too simplistic, and the belief that classical drama was relatively unimportant for Hellenistic poets should be reconsidered given the continuing prominence of drama in the third and second centuries BCE.