Ancient Greece
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The Archimedes' Lever and Vesuvius Eruption A.D. 79
Journal Of Anthropological And Archaeological Sciences DOI: 10.32474/JAAS.2020.01.000119 ISSN: 2690-5752 Research Article The Archimedes’ Lever and Vesuvius Eruption A.D. 79 Alexander N Safronov* AM Obukhov Institute of Atmospheric Physics, Russian Academy of Sciences, Russia *Corresponding author: Alexander N Safronov, AM Obukhov Institute of Atmospheric Physics, Russian Academy of Sciences, Pyzhevskii, Moscow, Russia Received: February 07, 2020 Published: February 24, 2020 Abstract The study based on detailed analysis of the Villa of the Mysteries frescoes, which were discovered early at the excavations in Pompeii. It was shown that the Villa of the Mysteries is a school of priestesses-seismologists. It is established that the frescoes depict the process of priestesses introducing in the Hera seismoacoustic cult (Zeus-Hera-Dionysus cult). It is shown that in the Hera cult the wand strike on the back of the graduate priest student symbolizes the fact of the introduction of the priestesses to the priesthood. The comparison between Pythagoras School in Crotone, Southern Italy (Temple of the Muse) and Cumaean Sibyl seismoacoustic at margin of Campi Flegrei, Gulf of Naples and school at Villa of the Mysteries, Pompeii was carried out. Some caustic remarks about interpretation of Homer and Lion Hunting were written. It is shown that Archimedes’ lever principal is theoretical basis of the Roman Empire volcanology and seismology. The Archimedes’ lever principal of planet alignment was demonstrated in several examples of the large up-to-date explosive eruptions with Volcanic Explosivity Index (VEI) greater than 4+ (6 examples). It was noted that the Pythagoras-Plato gravitational waves (vortexes) were known in Europe since Thales of Miletus and Pythagoras. -
Articulation and the Origins of Proportion in Archaic and Classical Greece
Articulation and the origins of proportion in archaic and classical Greece Lian Chang School of Architecture McGill University, Montreal, Canada August 2009 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Lian Chang 2009 Abstract This dissertation searches for the origins of western ideas of proportion in the archaic and classical Greek conceptual terrain of articulation. We think of articulation, in the first instance, as having to do with the joining of parts to fabricate an object, such as in the physical connection of pieces of wood, cloth, metal, or stone. However, the early Greek language that described these craft processes also, and inextricably, spoke in a number of ways about what it meant for a person, thing, or the world to be beautiful, healthy, and just. Taking Homer as its primary source, Part One therefore explores archaic ideas of bodily experience (Chapter One); of crafts (Chapter Two); and of the interrelations between the two (Chapter Three). These chapters lay emphasis on how the language and concepts of articulation constructed a worldview particular to early Greece. Part Two then examines early ideas of proportion, in social and political life as depicted by Homer (Chapter Four); in classical ideas about the medicalized human body and the civic body of the polis (Chapter Five); and in the cosmogonic theories of Empedocles and Plato (Chapter Six). In so doing, I aim to demonstrate how ideas of articulation allowed for and expanded into those of proportion, binding together the ordering of bodies, of the kosmos, and of crafts, including architecture. -
Baroque Poetics and the Logic of Hispanic Exceptionalism by Allen E
Baroque Poetics and the Logic of Hispanic Exceptionalism by Allen E. Young A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literatures in the GRADUATE DIVISION of the UNIVERSITY OF CALIFORNIA, BERKELEY Committee in charge: Professor Francine Masiello, Co-chair Professor Michael Iarocci, Co-chair Professor Robert Kaufman Fall 2012 Abstract Baroque Poetics and the Logic of Hispanic Exceptionalism by Allen Young Doctor of Philosophy in Hispanic Languages and Literatures University of California, Berkeley Professors Francine Masiello and Michael Iarocci, Chairs In this dissertation I study the how the baroque is used to understand aesthetic modernity in twentieth-century Spain and Latin America. My argument is that the baroque, in contemporary Hispanic and Latin American studies, functions as a myth of cultural exceptionalism, letting critics recast avant-garde and postmodern innovation as fidelity to a timeless essence or identity. By viewing much contemporary Spanish-language as a return to a baroque tradition—and not in light of international trends—critics in effect justify Spain and Latin America’s exclusion from broader discussions of modern literature. Against this widespread view, I propose an alternative vision drawn from the work of Gerardo Diego, José Lezama Lima and Severo Sarduy. These authors see the baroque not as an ahistorical, fundamentally Hispanic sensibility located outside the modern, but as an active dialogue with the wider world. In very different ways, they use the baroque to place the Hispanic world decidedly inside global aesthetic modernity. In contrast to most contemporary scholarship on the topic, I do not take the baroque to be a predefined aesthetic practice, readily identifiable in seventeenth- or twentieth- century authors. -
Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus. -
Vasemania: Neoclassical Form and Ornament
VOLUME: 4 WINTER, 2004 Vasemania: Neoclassical Form and Ornament: Selections from The Metropolitan Museum of Art at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture Review by Nancy H. Ramage 1) is a copy of a vase that belonged to Ithaca College Hamilton, painted in Wedgwood’s “encaustic” technique that imitated red-figure with red, An unusual and worthwhile exhibit on the orange, and white painted on top of the “black passion for vases in the 18th century has been basalt” body, as he called it. But here, assembled at the Bard Graduate Center in Wedgwood’s artist has taken all the figures New York City. The show, entitled that encircle the entire vessel on the original, Vasemania: Neoclassical Form and and put them on the front of the pot, just as Ornament: Selections from The Metropolitan they appear in a plate in Hamilton’s first vol- Museum of Art, was curated by a group of ume in the publication of his first collection, graduate students, together with Stefanie sold to the British Museum in 1772. On the Walker at Bard and William Rieder at the Met. original Greek pot, the last two figures on the It aims to set out the different kinds of taste — left and right goût grec, goût étrusque, goût empire — that sides were Fig. 1 Wedgwood Hydria, developed over a period of decades across painted on the Etruria Works, Staffordshire, Britain, France, Italy, Spain, and Germany. back of the ves- ca. 1780. Black basalt with “encaustic” painting. The at the Bard Graduate Center. -
Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject. -
Great Waterworks in Roman Greece Aqueducts and Monumental Fountain Structures Function in Context
Great Waterworks in Roman Greece Aqueducts and Monumental Fountain Structures Function in Context Access edited by Open Georgia A. Aristodemou and Theodosios P. Tassios Archaeopress Archaeopress Roman Archaeology 35 © Archaeopress and the authors, 2017. Archaeopress Publishing Ltd Gordon House 276 Banbury Road Oxford OX2 7ED www.archaeopress.com ISBN 978 1 78491 764 7 ISBN 978 1 78491 765 4 (e-Pdf) © Archaeopress and the authors 2018 Cover: The monumental arcade bridge of Moria,Access Lesvos, courtesy of Dr Yannis Kourtzellis Creative idea of Tasos Lekkas (Graphics and Web Designer, International Hellenic University) Open All rights Archaeopressreserved. No part of this book may be reproduced, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. Printed in England by Oxuniprint, Oxford This book is available direct from Archaeopress or from our website www.archaeopress.com © Archaeopress and the authors, 2017. Contents Preface ��������������������������������������������������������������������������������������������������������������������������������������������� iii Georgia A. Aristodemou and Theodosios P. Tassios Introduction I� Roman Aqueducts in Greece �������������������������������������������������������������������������������������1 Theodosios P. Tassios Introduction II� Roman Monumental Fountains (Nymphaea) in Greece �����������������������������������������10 Georgia A. Aristodemou PART I: AQUEDUCTS Vaulted-roof aqueduct channels in Roman -
Th1rzne CEEK
HESPERIA 68.2, I999 "'ADYTO N ," "OPI STHO DOO S," AND THE INNER ROO/ OFr TH1rznECEEK/ T EMPLED For Lucy Shoe Meritt We know very little of what took place inside a Greek temple. Sacrifice, the focal act of communal religious observance,was enacted outside, on an open-air altar usually opposite the main, east, facade of the temple, while the interior contained objects dedicated to the deity, including a cult statue. In form most Greek temples had a single main interior room, or cella; some had an additional small room behind it, accessible only from the cella. Such a subdivision of interior space suggests that the inner chamber served a special function. This study is designed to ascertain why some temples had inner rooms and how these chambers were used, questions that shed light on the nature of the temple itself. Examination of termi- nology used for temple interiors and of archaeological remains of temples with inner rooms, together with literary and epigraphical references to activities that occurred in temples, indicates a larger economic role for many temples and less secret ritual than has been assumed.1 Nomenclature is a central issue here, as naming incorporates a set of 1. This article is dedicatedto Lucy Since the 19th century, the in- Shoe Meritt, with gratitude,for her assumptions and a specific interpretation. generosityin sharingher expertisein ner room has been called 'a'UTOV (adyton, "not to be entered"), a term and enthusiasmfor Greek architecture. known from ancient sources. The usage of "adyton" in literary and In the uncommonlylong develop- epigraphical testimonia led scholars to consider the inner room a locus of ment of this article,I have received cult ritual of a chthonian or oracular nature, mysterious rites conducted exceptionalassistance from Susan within the temple. -
AP Art History Greek Study Guide
AP Art History Greek Study Guide "I cannot teach anybody anything. I can only make them think." - Socrates (470-399 BCE) CH. 5 (p. 101 – 155) Textbook Timeline Geometric Archaic Early Classical High Classical Late Classical Hellenistic 900-700 600 BCE- 480 Severe 450 BCE-400 BCE 400-323 BCE 323 BCE-31 BCE BCE 480 BCE- 450 BCE BCE Artists: Phidias, Artists: Praxiteles, Artists: Pythokritos, Artists: ??? Polykleitos, Myron Scopas, Orientalizing Lysippus Polydorus, Artists: Kritios 700-600 Agesander, Artworks: Artworks: BCE Artworks: Athenodorus kouroi and Artworks: Riace warrior, Aphrodite of Knidos, korai Pedimental Zeus/Poseidon, Hermes & the Infant Artworks: sculpture of the Doryphoros, Dionysus, Dying Gaul, Temple of Diskobolos, Nike Apoxyomenos, Nike of Samothrace, Descriptions: Aphaia and the Adjusting her Farnes Herakles Barberini Faun, Idealization, Temple of Sandal Seated Boxer, Old Market Woman, Artemis, Descriptions: stylized, Laocoon & his Sons FRONTAL, Kritios boy Descriptions: NATURAL, humanized, rigid Idealization, relaxed, Descriptions: unemotional, elongation EMOTIONAL, Descriptions: PERFECTION, dramatic, Contrapposto, self-contained exaggeration, movement movement, individualistic Vocabulary 1. Acropolis 14. Frieze 27. Pediment 2. Agora 15. Gigantomachy 28. Peplos 3. Amphiprostyle 16. Isocephalism 29. Peristyle 4. Amphora 17. In Situ 30. Portico 5. Architrave 18. Ionic 31. Propylaeum 6. Athena 19. Kiln 32. Relief Sculpture 7. Canon 20. Kouros / Kore 33. Shaft 8. Caryatid / Atlantid 21. Krater 34. Stele 9. Contrapposto 22. Metope 35. Stoa 10. Corinthian 23. Mosaic 36. Tholos 11. Cornice 24. Nike 37. Triglyph 12. Doric 25. Niobe 38. Zeus 13. Entablature 26. Panatheonic Way To-do List: ● Know the key ideas, vocabulary, & dates ● Complete the notes pages / Study Guides / any flashcards you may want to add to your ongoing stack ● Visit Khan Academy Image Set Key Ideas *Athenian Agora ● Greeks are interested in the human figure the idea of Geometric perfection. -
An Empire Style Furniture Set at Nedkovich House, Old Town Plovdiv
Architecture and Urban Planning doi: 10.1515/aup-2015-0007 2015/10 An Empire Style Furniture Set at Nedkovich House, Old Town Plovdiv Regina Pavlova Raycheva, University of Forestry Abstract – The paper considers the interior and furnishing of a Revival dows, each with a triangular pediment over the flanking pilas- Bulgarian house built in 1863. The aim of this paper is to present the ar- ters. The portico is embellished with painted medallions (Fig. 1) chitecture and to give a closer overview of a part of the furniture collection belonging to this house: the French Empire style furniture set in the South and so are the window pediments. The steps lead the visitor to East drawing room of the upper floor. The aim is to perform the analysis the gate with two door leaves decorated with neoclassical oval of stylistic features as well as to make a hypothesis concerning the cabinet fan-shaped motifs. The entrance to the building is an official maker. gate centered in the middle column span under the upper floor Keywords – Revival townhouse, residential architecture, French Empire prolonged ahead to form a bay area. After climbing another set style, china display cabinet, tête-à-tête, armchair, guéridon. of stairs the visitor finds himself in a large hayat (or vestibule (Fig. 5)); opposite of the entrance a stair leads to the second floor. The vestibule on the second floor is much larger (Fig. 6), Plovdiv is a Bulgarian city keeping a rich legacy of Late Re- with a recess for the musicians built half a level higher over the vival townhouse architecture. -
ART DECO and BRAZILIAN MODERNISM a Dissertation
SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirement for the degree of Doctor in Philosophy in Spanish By Patricia A. Soler, M.S. Washington, DC January 23, 2014 Copyright by Patricia A. Soler All rights reserved ii SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM Patricia A. Soler, M.S. Thesis advisor: Gwen Kirkpatrick, Ph.D. ABSTRACT I explore Art Deco in the Brazilian Modernist movement during the 1920s. Art Deco is a decorative arts style that rose to global prominence during this decade and its proponents adopted and adapted the style in order to nationalize it; in the case of Brazil, the style became nationalized primarily by means of the application of indigenous motifs. The Brazilian Modernists created their own manifestations of the style, particularly in illustration and graphic design. I make this analysis by utilizing primary source materials to demonstrate the style’s prominence in Brazilian Modernism and by exploring the handcrafted and mechanical techniques used to produce the movement’s printed texts. I explore the origins of the Art Deco style and the decorative arts field and determine the sources for the style, specifically avant-garde, primitivist, and erotic sources, to demonstrate the style’s elasticity. Its elasticity allowed it to be nationalized on a global scale during the 1920s; by the 1930s, however, many fascist-leaning forces co- opted the style for their own projects. I examine the architectural field in the Brazil during the 1920s.