General Index

Total Page:16

File Type:pdf, Size:1020Kb

General Index Cambridge University Press 978-1-107-00927-1 - Cosmology and the Polis: The Social Construction of Space and Time in the Tragedies of Aeschylus Richard Seaford Index More information General index abstraction, 19, 57, 60, 62, 69, 240, 290, 297 Aigyptos, sons of, 137–57, 238 Acheron, 165 Ajax, 203 Acropolis, 67, 76, 82, 83, 85, 88, 119, 162, 187, 338 Alkibiades, 275 Adrastos, 115, 117 Alkmaion, 70, 290, 299 Aeschylus, passim Alkmaionids, 94 Agamemnon, 168, 170, 178–82, 192, 194, 207, Alkman, 108 210, 218, 230–2, 236–9, 260, 261–3 altar of the twelve gods, 47, 69, 79, 80, 97, 137, Aiguptioi, 153 138 Bassarai, 26, 41 Althaia, 86, 117 Choephoroi, 182–7, 191, 196, 210, 213, 232–3, Amphiaraon, 50 260, 266 Amphiaraos, 172 Danaid trilogy, 143, 189, 204, 214, 304–12, Amphiktyon, 80, 85 317–18, 323–4 Anaxagoras, 287 Danaids, 319, 339 Anaximander, 3, 53, 57, 58, 59, 60, 61, 63, 64, Edonians, 89, 109, 339 240, 250, 251, 290 Eumenides, 45, 174, 176, 187–9, 195, 221, 260, Anaximenes, 59 269–74, 306, 307, 319 Anthesteria, 86, 87, 101, 102, 116, 133 Heliades, 304, 339 antideterminate chronotope, 5, 132, 174, 263 Karians or Europa, 256 Antigone, 134, 162, 177, 218, 305, 328, 330, 331 Lykourgeia, 159, 282 Antiope, 91 Oedipus, 244 antiphony, 216, 220, 221, 227, 229 Oresteia, 119, 120, 165, 178–89, 196–205, 235, Apadana, 208, 210 240, 258, 259, 305, 318–21, 322, 323–5, 337 apeiron (unlimited), 53–4, 55, 60, 61, 63, 283, 291 Persians, 139, 143, 206–22, 233–4, 244, 322, 337 Aphrodite, 147, 148, 216, 245, 305–8 Psychostasia, 237, 255 Apollo, 165, 177, 248, 260, 263, 266, 267, 269 Septem, 118, 158–77, 203, 220, 230, 244, 322, arbitration, 159 325–7, 331, 337 Archilochos, 97, 107 Suppliants, 137–57, 158–60, 164, 167, 218, Archytas of Tarentum, 292 220–1, 238, 255, 256, 337 Areopagos, 188, 295, 313 aetiological chronotope, 5, 6, 8–10, 24–51, 52, 75, Ares, 200, 247 100, 103, 118–20, 125, 132, 159, 235, 258–61, Argos, 97, 103, 138, 139, 148, 158, 189, 306, 309, 271, 273, 274, 275, 287, 312, 314, 332, 334 311, 321, 323–5 aetiological myth, 5, 38, 39, 40, 47, 50, 96, 99, Ariadne, 87 100, 103, 105, 110, 113, 125, 134, 291 Arion, 106, 110 aetiological space, 39, 52, 53, 63, 259 Aristagoras, 101 aetiological time, 39, 113, 259 aristocratic temporality, 274 Agamemnon, 21, 146, 174, 181, 191, 192, 199, 210, arkteia, 140 231, 264, 302, 315 Artemis, 48, 49, 132, 190, 191 agora, 47, 68, 69, 79–82, 90, 97, 138, 207, 313, 314 Athena, 66, 67, 147, 187, 195, 266, 267, 293, 295, agriculture, 33, 170, 171, 172, 173, 305–8, 332 299, 306, 308 Aigisthos, 185, 197, 200, 202 Atreus, 193 355 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00927-1 - Cosmology and the Polis: The Social Construction of Space and Time in the Tragedies of Aeschylus Richard Seaford Index More information 356 General index Attis, 225 diegertikon (waking song), 304, 339 Aulis, 190, 244, 245, 253, 269, 300 Diomedes, 21 Dionysia, City, 57 Bakhtin, Mikhail, 1, 2, 4 Dionysos, 29, 34, 36, 42, 44, 46, 51, 67, 70, 73, Baltussen, Han, 300 121, 125, 126, 132, 133, 134, 155, 161, 163, 177, Bellerophon, 21 182, 184, 187, 192, 276, 282, 321, 331, 334 blood, 173, 174–6, 182, 196, 239, 248, 307, 332 dithyramb, 39, 79, 84, 86, 97–102, 103, Boukoleion, 83, 85–7, 92 106–18 bouleuterion, 68, 69 divorce, 153 Brauron, 48, 67, 245 dream, 143, 210, 244, 245 Brauronia, 48 drums, 98–101 Briant, Pierre, 215, 217 Durkheim, Emile,´ 2, 3 cannibalism, 151 earthquake, 27, 89, 91, 95, 98, 99, 100, 101, 335 Carpenter, Thomas, 104 Egypt, 137, 142, 143, 154, 311, 321, 323–4 catalogue of ships, 15–17 Elektra, 109, 183, 184, 191, 200, 202, 210 chor¯egos, 109, 111, 112 Eleusinion, 44 chronotope, passim; see also aetiologial Eleusis, 24, 27, 28, 29, 30, 32, 33, 34, 35, 36, 38, chronotope, antideterminate chronotope, 39, 44, 45, 49, 65, 66, 79, 89, 277, 321, 331 Homeric chronotope, monetised Eleutherai, 50, 78, 91, 102, 161, 334 chronotope, polis chronotope, reciprocal Empedokles, 249, 308 chronotope endogamy, 91, 131, 133, 144, 152–7, 162, 164, chthonic, 165, 269, 270, 271, 300, 301, 303 318–21, 323, 324, 325, 326, 327, 328, 331 circularity, 52, 103, 204, 235, 242, 243, 250, 332, enkomion, 231, 233 335 Ephialtes, 311 City Dionysia, 73, 121, 125, 138, 260 epikl¯eros (heiress), 154, 319 Cleanthes, 26 Epimenides, 102 coinage, 55, 56, 63, 64, 69, 70, 112, 127, 172 epiphany, 27, 34, 39, 40, 42, 43, 97, 99, 100, 101, Corinth, 97, 106, 108 103, 104, 110, 187 cosmisation, 3 Erechtheion, 88, 89 cosmological confusion, 269, 316, 317, 322, 330, Erechtheus, 88, 89 331, 335 Erinues, 135, 147, 161, 162, 169, 174, 176, 183, 187, Csapo, Eric, 274 189, 194–6, 203–4, 260, 261, 263, 265–73, curse, 160, 161, 167, 168, 170, 172, 244, 245, 251 276, 294–5, 296, 299, 300, 303, 306, 307, Cyrus, 68, 207 308, 313, 315, 335 eschara, 80; see also hearth Danae, 328 Eteokles, 158, 159, 160, 161, 166–70, 204, 245, Danaids, 137–57, 158, 164, 188, 218, 238, 301, 328, 338 304–12, 313, 314, 315, 317, 319, 320, 323 Eumolpos, 90 Danaos, 139, 155, 156, 314, 323 euph¯emia, 271 Dareios, 206, 208, 211, 213, 214 Euripides death ritual, 65, 128, 134, 163, 182, 183, 184, 191, Antiope, 103 200, 201, 216, 217, 218, 219, 228, 233–4, 330 Bacchae, 17, 41, 42, 43, 45, 84–5, 87, 89, 90, 91, debt, 168, 172 92, 95, 99–105, 109, 116, 129, 134, 143, 184, Delos, 47, 68, 165, 177, 248 186, 192, 259, 335 Delphi, 16, 47, 173, 187, 188, 189, 260 Cyclops, 41, 86, 109, 117 Demeter, 24, 27, 29, 30, 33, 36, 89, 186, 307, 317 Erechtheus, 89, 95 Demeter Hymn, 6, 9, 24–51, 75, 80, 90, 91, 93, Herakles, 89 100–1, 118, 126, 134, 189, 314, 317–18, 321, 330 Ion, 43 Demetrios Poliorketes, 79 Iphigeneia in Tauris, 47 democracy, 87, 93, 104, 129, 138, 139, 148, 204, Phaethon, 304, 339 274–8, 314, 325 Europa, 256 democratic temporality, 274 d¯emos, 30, 32, 33, 290 fable, 247 Derveni papyrus, 256, 272 festivals, 16, 73, 105, 177, 306 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00927-1 - Cosmology and the Polis: The Social Construction of Space and Time in the Tragedies of Aeschylus Richard Seaford Index More information General index 357 fire, 58, 59, 91, 100, 101, 179, 250, 255, 260, 263, insatiability, 195, 196, 197, 200, 201, 202, 232, 287 236, 299 form-parallelism, 10, 221, 225–34, 237, 238, 240, Io, 140, 141, 142, 144, 146, 158, 323 242–3, 265, 268 Ion of Chios, 282, 287, 300, 311, 312 Iphigeneia, 48, 181, 190, 191, 192, 237, 238, 315 gain, 168, 169, 170, 200, 328, 330; see also kerdos isolation, individual, 131, 134, 169, 176, 275, 277; Garvie, Alex, 182, 184 see also individualism Girard, Rene,´ 252 isonomia, 53, 54, 55, 70, 290 Glaukos, 21 gold leaves, funerary, 41, 226, 283 Jokasta, 161, 173, 175 Guthrie, W. K. C., 283 justice, 59, 184, 193, 198, 269, 289, 294, 296, 297, 301 Hades, 14, 25, 26, 29, 41, 142, 145, 161, 165, 177, 250, 272, 317, 331 Kadmeia, 90, 338 Haimon, 177, 328, 329 Kadmos, 172 Halai, 48, 49 Kahn, Charles, 309 Hamilton, Richard, 339 Kalchas, 210, 237, 245, 264, 269 harmonia, 286, 288, 289, 296 Kant, Immanuel, 2 hearth, 23, 37, 38, 47, 53, 79–82, 137–9, 287;see Kassandra, 181, 191, 193, 194, 195, 201, 218, 231, also eschara 246 Helen, 181, 197, 246, 249 Katagogia¯ , 84 Henrichs, Albert, 272 Keleos, 24, 30, 36, 37 Hephaistos, 110 daughters of, 29, 38 Hera, 15, 140, 306 kerdos, 110, 161, 168, 169, 198, 200, 204, 262, 268, Herakleitos, 58, 59, 179, 180, 198, 230, 250–7, 298, 328, 330, 333; see also gain 258, 259, 260, 262, 263, 265, 273, 288–90, Kimon, 311 296, 325, 326, 327, 331, 336 kin-killing, 131, 133, 143, 149, 156, 158, 161, 162, Herakles, 27 173, 203, 236 hero-cult, 68, 165, 175, 176 Kleisthenes of Athens, 68–71, 94, 117, 282, 314 Hesiod, 13, 24 Kleisthenes of Sikyon, 115, 117 Hestia, 80 Kleobis and Biton, 65, 132 Hipparchos, 69, 104, 111, 114 Klutaimestra, 128, 162, 174, 178, 180, 181, 183, 185, Hippias, 64, 112 191, 193, 197, 201, 202, 230, 231, 236, 244, Hippomenes, 92 248, 261, 262, 264, 271, 302, 307 Homer, 3, 6, 13–23, 24, 29, 34, 36, 37, 38, 80, 88, Kore, see Persephone 126, 138, 156, 203, 247, 254, 255, 317 Kowalzig, Barbara, 102 Homeric chronotope, 22, 24, 38 Kreon, 130, 327–32 Homeric Hymn to Apollo, 28, 29, 114 Kroisos, 65, 66, 132 Homeric Hymn to Demeter,seeDemeter Hymn Kronos, 300 house, royal, 83–95, 99, 101, 113, 133, 162, 164, Kroton, 70, 290 168, 178, 182, 184, 192, 206, 209, 335 Kylon of Croton, 291 household, 19, 22, 23, 29, 30, 31, 33, 35, 36, 37, 46, 73–95, 100, 126, 128, 156, 164, 228, 274, Laios, 165, 167, 173, 332 314, 316–36 lamentation, 117, 140, 151, 158–67, 182, 184, 213, hubris, 110, 198, 246, 298, 299, 332 215, 216–20, 221, 227, 230, 231, 233–4, 263, Hutchinson, Gregory, 163, 165 268, 269, 304, 338 Hypermestra, 309 lampad¯ephoria, 179, 248, 260 Lasos of Hermione, 111 Iakchos, 27, 42–5, 100 Laurium, 63, 112, 221, 222 Ikarion, 77 libation, 182, 184, 191, 210, 213, 239, 248, 302, 303 Ikarios, 85 light, mystic, 27, 42, 185, 186, 248, 276, 295, 331 incest, 164, 173, 174, 175, 228, 328, lightning, 42, 89, 92, 93, 101, 263 333–4 liminality, 125, 146 individualism, 65, 129, 131, 327; see also isolation, limit, 65, 125–7, 283, 285, 288, 291, 293, 297, 298, individual 299, 327 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00927-1 - Cosmology and the Polis: The Social Construction of Space and Time in the Tragedies of Aeschylus Richard Seaford Index More information 358 General index lion, 246–7 Odeion, 210 liturgies, 112 Odysseus, 15, 22, 37 Lloyd, Geoffrey, 249 Oedipus, 141, 150, 161,
Recommended publications
  • 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).
    [Show full text]
  • Agorapicbk-17.Pdf
    Excavations of the Athenian Agora Picture Book No. 17 Prepared by Mabel L. Lang Dedicated to Eugene Vanderpool o American School of Classical Studies at Athens ISBN 87661-617-1 Produced by the Meriden Gravure Company Meriden, Connecticut COVER: Bone figure of Socrates TITLE PAGE: Hemlock SOCRATES IN THE AGORA AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS PRINCETON, NEW JERSEY 1978 ‘Everything combines to make our knowledge of Socrates himself a subject of Socratic irony. The only thing we know definitely about him is that we know nothing.’ -L. Brunschvicg As FAR AS we know Socrates himselfwrote nothing, yet not only were his life and words given dramatic attention in his own time in the Clouds of Ar- istophanes, but they have also become the subject of many others’ writing in the centuries since his death. Fourth-century B.C. writers who had first-hand knowledge of him composed either dialogues in which he was the dominant figure (Plato and Aeschines) or memories of his teaching and activities (Xe- nophon). Later authors down even to the present day have written numerous biographies based on these early sources and considering this most protean of philosophers from every possible point of view except perhaps the topograph- ical one which is attempted here. Instead of putting Socrates in the context of 5th-century B.C. philosophy, politics, ethics or rhetoric, we shall look to find him in the material world and physical surroundings of his favorite stamping- grounds, the Athenian Agora. Just as ‘agora’ in its original sense meant ‘gathering place’ but came in time to mean ‘market place’, so the agora itself was originally a gathering place I.
    [Show full text]
  • 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.
    [Show full text]
  • Greek and Roman Mythology and Heroic Legend
    G RE E K AN D ROMAN M YTH O LOGY AN D H E R O I C LE GEN D By E D I N P ROFES SOR H . ST U G Translated from th e German and edited b y A M D i . A D TT . L tt LI ONEL B RN E , , TRANSLATOR’S PREFACE S Y a l TUD of Greek religion needs no po ogy , and should This mus v n need no bush . all t feel who ha e looked upo the ns ns and n creatio of the art it i pired . But to purify stre gthen admiration by the higher light of knowledge is no work o f ea se . No truth is more vital than the seemi ng paradox whi c h - declares that Greek myths are not nature myths . The ape - is not further removed from the man than is the nature myth from the religious fancy of the Greeks as we meet them in s Greek is and hi tory . The myth the child of the devout lovely imagi nation o f the noble rac e that dwelt around the e e s n s s u s A ga an. Coar e fa ta ie of br ti h forefathers in their Northern homes softened beneath the southern sun into a pure and u and s godly bea ty, thus gave birth to the divine form of n Hellenic religio . M c an c u s m c an s Comparative ythology tea h uch . It hew how god s are born in the mind o f the savage and moulded c nn into his image .
    [Show full text]
  • The Limits of Communication Between Mortals and Immortals in the Homeric Hymns
    Body Language: The Limits of Communication between Mortals and Immortals in the Homeric Hymns. Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Bridget Susan Buchholz, M.A. Graduate Program in Greek and Latin The Ohio State University 2009 Dissertation Committee: Sarah Iles Johnston Fritz Graf Carolina López-Ruiz Copyright by Bridget Susan Buchholz 2009 Abstract This project explores issues of communication as represented in the Homeric Hymns. Drawing on a cognitive model, which provides certain parameters and expectations for the representations of the gods, in particular, for the physical representations their bodies, I examine the anthropomorphic representation of the gods. I show how the narratives of the Homeric Hymns represent communication as based upon false assumptions between the mortals and immortals about the body. I argue that two methods are used to create and maintain the commonality between mortal bodies and immortal bodies; the allocation of skills among many gods and the transference of displays of power to tools used by the gods. However, despite these techniques, the texts represent communication based upon assumptions about the body as unsuccessful. Next, I analyze the instances in which the assumed body of the god is recognized by mortals, within a narrative. This recognition is not based upon physical attributes, but upon the spoken self identification by the god. Finally, I demonstrate how successful communication occurs, within the text, after the god has been recognized. Successful communication is represented as occurring in the presence of ritual references.
    [Show full text]
  • 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.
    [Show full text]
  • The Study of the Influence of Ancient Greek Rituals and Sports and the Formation of the Architecture of Its Sports Spaces
    DOI: 10.18468/estcien.2019v9n2.p33-44 Review article The study of the influence of ancient Greek rituals and sports and the formation of the architecture of its sports spaces Nima Deimary1* Mahsa Azizi2 Mohammad Mohammadi3 1 Department of Architecture, Faculty of Civil and Architecture, Malayer University ,Malayer, Iran. (*) Corresponding author. E-mail: [email protected] https://orcid.org/0000-0001-7998-0395 2 MA Student of Architecture Technology, Shahid Beheshti University, Tehran, Iran. E-mail: [email protected] https://orcid.org/0000-0001-7998-0568 3 Department of Physical Education, Faculty of Literature and Humanities, Malayer University, Malayer, Iran. E-mail: [email protected] https://orcid.org/0000-0002-4180-3921 ABSTRACT: To get a better understanding of why variety of sports buildings are this massive in ancient Greece, a proper understanding of the history of sports as well as Greece itself must start at the beginning. Greece is a country that is enclosed with hills and mountains alongside short riv- ers and fertile va lleys. Even though Greek people were living in separate city-states, they were unit- ed under national pride, common temples, same rituals and games like Olympic. Sports were the most important parts of most Greek men. Gym and music alongside each other, fed the body and the soul of the athletes. They admired the beauty of well-trained men. They believed in multiple gods who were living in Holy mount of Olympus under the reign of greater god, Zeus and they held many rituals to satisfy them and Olympic was the most famous rituals amongst others.
    [Show full text]
  • Pindar Fr. 75 SM and the Politics of Athenian Space Richard T
    Pindar Fr. 75 SM and the Politics of Athenian Space Richard T. Neer and Leslie Kurke Towns are the illusion that things hang together somehow. Anne Carson, “The Life of Towns” T IS WELL KNOWN that Pindar’s poems were occasional— composed on commission for specific performance settings. IBut they were also, we contend, situational: mutually im- plicated with particular landscapes, buildings, and material artifacts. Pindar makes constant reference to precious objects and products of craft, both real and metaphorical; he differs, in this regard, from his contemporary Bacchylides. For this reason, Pindar provides a rich phenomenology of viewing, an insider’s perspective on the embodied experience of moving through a built environment amidst statues, buildings, and other monu- ments. Analysis of the poetic text in tandem with the material record makes it possible to reconstruct phenomenologies of sculpture, architecture, and landscape. Our example in this essay is Pindar’s fragment 75 SM and its immediate context: the cityscape of early Classical Athens. Our hope is that putting these two domains of evidence together will shed new light on both—the poem will help us solve problems in the archaeo- logical record, and conversely, the archaeological record will help us solve problems in the poem. Ultimately, our argument will be less about political history, and more about the ordering of bodies in space, as this is mediated or constructed by Pindar’s poetic sophia. This is to attend to the way Pindar works in three dimensions, as it were, to produce meaningful relations amongst entities in the world.1 1 Interest in Pindar and his material context has burgeoned in recent ————— Greek, Roman, and Byzantine Studies 54 (2014) 527–579 2014 Richard T.
    [Show full text]
  • Mechanical Miracles: Automata in Ancient Greek Religion
    Mechanical Miracles: Automata in Ancient Greek Religion Tatiana Bur A thesis submitted in fulfillment of the requirements for the degree of Master of Philosophy Faculty of Arts, University of Sydney Supervisor: Professor Eric Csapo March, 2016 Statement of Originality This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Tatiana Bur, March 2016. Table of Contents ACKNOWLEDGMENTS ....................................................................................................... 1 A NOTE TO THE READER ................................................................................................... 2 INTRODUCTION ................................................................................................................ 3 PART I: THINKING ABOUT AUTOMATION .......................................................................... 9 CHAPTER 1/ ELIMINATING THE BLOCAGE: ANCIENT AUTOMATA IN MODERN SCHOLARSHIP ................. 10 CHAPTER 2/ INVENTING AUTOMATION: AUTOMATA IN THE ANCIENT GREEK IMAGINATION ................. 24 PART II: AUTOMATA IN CONTEXT ................................................................................... 59 CHAPTER 3/ PROCESSIONAL AUTOMATA ................................................................................
    [Show full text]
  • Athenian Political Art from the Fifth and Fourth
    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 BCE: images of historical individuals S Most portraits of individuals from Classi- cal Greece are best known through copies of the Greek originals, created in late Hel- lenistic and Roman times, when it became popular to decorate domestic spaces with Greek art works and copies thereof. In- tellectuals in these periods particularly enjoyed surrounding themselves with images of their favorite Greek statesmen and writers. Whereas the original Greek portraits, which generally occupied civic spaces, and were o en commissioned at public expense, depicted bodies as well as heads, copies more o en took the form of busts or herms (rectangular sha s surmounted with the shoulder Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : images of historical individuals,” 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. and head of the depicted individual). In some cases these copies were inscribed with the names of the individuals represented, which has been immeasurably helpful in determining which portraits depict which persons.
    [Show full text]
  • The Monument of the Eponymous Heroes in the Athenian Agora'
    THE MONUMENT OF THE EPONYMOUS HEROES IN THE ATHENIAN AGORA' (PLATES 41-58) T175HE heroes who gave their names to the Athenian tribes provided the essential framework within which the Athenian democracy customarily functioned. In their persons, they linked historical present with immemorial past, the realities of government with the legends of remote antiquity. In their cults, they perpetuatedthat ancient marriage of ancestral religion and practical politics which formed so char- acteristic a feature of the Greek polis. The Athenian citizen enjoyed the privileges and responsibilities of his citizenship almost wholly under the protecting aegis of his tribal hero. It was by tribe that he voted in the annual elections, by tribe that he would be allotted to public office. As a representative of his tribe, he would serve in the Council and by rotation of the tribal delegations the Council formed its executive committee. On behalf of his tribe, the citizen competed in the sacred games or performed in the choral dances in the theater. As a youth he was mustered by tribe for military service. It was in the ranks of his tribal regiment that the Athenian drilled and marched to war, by tribe that he fought in battle, and by tribe that he listed the names of his comrades who fell fighting and did not return. The tribal structure of the Athenian state found its monumental embodiment in the precinct of the Eponymous Heroes in the Agora. Just as the neighboring Altar of the Twelve Gods was the central milestone from which the roads ran out to all parts of Athens, so the complex channels of civic authority ran out to every citizen from the monument of the Eponymoi.
    [Show full text]
  • The World of Greek Religion and Mythology
    Wissenschaftliche Untersuchungen zum Neuen Testament Herausgeber/Editor Jörg Frey (Zürich) Mitherausgeber/Associate Editors Markus Bockmuehl (Oxford) ∙ James A. Kelhoffer (Uppsala) Tobias Nicklas (Regensburg) ∙ Janet Spittler (Charlottesville, VA) J. Ross Wagner (Durham, NC) 433 Jan N. Bremmer The World of Greek Religion and Mythology Collected Essays II Mohr Siebeck Jan N. Bremmer, born 1944; Emeritus Professor of Religious Studies at the University of Groningen. orcid.org/0000-0001-8400-7143 ISBN 978-3-16-154451-4 / eISBN 978-3-16-158949-2 DOI 10.1628/978-3-16-158949-2 ISSN 0512-1604 / eISSN 2568-7476 (Wissenschaftliche Untersuchungen zum Neuen Testament) The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- graphie; detailed bibliographic data are available at http://dnb.dnb.de. © 2019 Mohr Siebeck Tübingen, Germany. www.mohrsiebeck.com This book may not be reproduced, in whole or in part, in any form (beyond that permitt- ed by copyright law) without the publisher’s written permission. This applies particular- ly to reproductions, translations and storage and processing in electronic systems. The book was typeset using Stempel Garamond typeface and printed on non-aging pa- per by Gulde Druck in Tübingen. It was bound by Buchbinderei Spinner in Ottersweier. Printed in Germany. in memoriam Walter Burkert (1931–2015) Albert Henrichs (1942–2017) Christiane Sourvinou-Inwood (1945–2007) Preface It is a pleasure for me to offer here the second volume of my Collected Essays, containing a sizable part of my writings on Greek religion and mythology.1 Greek religion is not a subject that has always held my interest and attention.
    [Show full text]