Ancient Greece
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Mathias Mehofer
REINHARD JUNG · MATHIAS MEHOFER MYCENAEAN GREECE AND BRONZE AGE ITALY: COOPERATION, TRADE OR WAR? »I continue to believe it probable that the occasion for the first introduction of Type II swords to the Aegean was military necessity that drove Mycenaean princes to hire warriors from outside Greece. These warriors brought their own armouries with them. Their swords in particular were greatly admired by their em - ployers, who set their own swordsmiths to copy and adapt them.« 1 Since the publication of Hector Catling’s paper, which contains the above interpretation of Late Bronze Age relations between Mycenaean Greece and its north-western neighbours, various research ers have decisively contributed to a better understanding of the pro - cesses that lead 1) to the adoption of new types of weapons, armour, dress accessories and implements (often referred to as metallurgical koiné or »urnfield bronzes«) at the end of the Aegean Bronze Age and 2) to the local production of impasto pottery of Italian Recent and Final Bronze Age type in the Aegean and beyond. Thanks to the results of recent studies, we are provided with detailed typological arguments 2 that support the theory that the origin of those bronze and pottery types has to be traced back to Italy (figs 1-2). Other schools of research argued that the majority of the types forming the Fig. 1 Sites of the studied objects in Italy. – (Map R. Jung / metallurgical koiné was invented in the regions of M. Mehofer). Fig. 2 Sites of the studied objects in Greece. – (Map R. Jung / M. Mehofer). Archäologisches Korrespondenzblatt 43 · 2013 175 the Balkans and/or Central Europe and reached the Aegean via a Balkan route 3, whereas still others proposed to ascribe at least specific types to a Central European/Balkan origin 4. -
An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee's Iphigenia
An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee’s Iphigenia 2.0: A Director’s Approach Caroline Donica Table of Contents Chapter One: Charles Mee and the History Behind Iphigenia 2.0 4 Introduction 4 The Life and Works of Charles Mee 4 Just War 8 Production History and Reception 11 Survey of Literature 13 Conclusion 15 Chapter Two: Play Analysis 16 Introduction 16 Synopsis 16 Given Circumstances 24 Previous Action 26 Dialogue and Imagery 27 Character Analysis 29 Idea and Theme 34 Conclusion 36 Chapter Three: The Design Process 37 Introduction 37 Production Style 37 Director’s Approach 38 Choice of Stage 38 Collaboration with Designers 40 Set Design 44 Costumes 46 Makeup and Hair 50 Properties 52 Lighting 53 Sound 55 Conclusion 56 Chapter Four: The Rehearsal Process 57 Introduction 57 Auditions and Casting 57 Rehearsals and Acting Strategies 60 Technical and Dress Rehearsals 64 Performances 65 Conclusion 67 Chapter Five: Reflection 68 Introduction 68 Design 68 Staging and Timing 72 Acting 73 Self-Analysis 77 Conclusion 80 Appendices 82 A – Photos Featuring the Set Design 83 B – Photos Featuring the Costume Design 86 C – Photos Featuring the Lighting Design 92 D – Photos Featuring the Concept Images 98 Works Consulted 102 Donica 4 Chapter One Charles Mee and the History Behind Iphigenia 2.0 Introduction Charles Mee’s Iphigenia 2.0 is a significant work in recent theatre history. The play was widely recognized and repeatedly produced for its unique take on contemporary issues, popular culture, and current events set within a framework of ancient myths and historical literature. -
A Bronze Pail of Athena Alalkomenia
A BRONZE PAIL OF ATHENA ALALKOMENIA (PLATES 31-34) T HE remarkable archaic Greek bronze vessel published here (P1. 31, a) was l.4 purchased in Mantinea in Arcadia in the spring of 1957 and donated to the Museum in Tegea where other antiquities from the same region have their abode. It had been found by a local shepherd some distance to the north of the ruins of Man- tinea but, unfortunately, the exact location of the discovery could not be ascertained.' The major part of the vessel is preserved, including about half of its upper profiled edge and one attachment for the handle which passed through its upper ring. The whole of this ring is still filled with iron and it is evident that the missing handle was made of this material. The carefully proportioned body has a height of 0.241 m. to the upper edge of the lip. Its largest diameter, 0.215 m., is slightly smaller than the total height and exactly the same both at the outer edge of the lip and at the greatest width of the body which, in turn, occurs precisely half way between that edge and the bottom of the vessel, 0.12 m. distant from both. The upper face of the lip inclines outward slightly to allow overspilling liquid to run off, as it were, from an architectural cornice. The proportion of diameter to height, the rounded bottom and the contraction of the width under the lip combine to give the impression of an elastic curvilinear rhythm to the generally ovoid form. -
Early Mycenaean Arkadia: Space and Place(S) of an Inland and Mountainous Region
Early Mycenaean Arkadia: Space and Place(s) of an Inland and Mountainous Region Eleni Salavoura1 Abstract: The concept of space is an abstract and sometimes a conventional term, but places – where people dwell, (inter)act and gain experiences – contribute decisively to the formation of the main characteristics and the identity of its residents. Arkadia, in the heart of the Peloponnese, is a landlocked country with small valleys and basins surrounded by high mountains, which, according to the ancient literature, offered to its inhabitants a hard and laborious life. Its rough terrain made Arkadia always a less attractive area for archaeological investigation. However, due to its position in the centre of the Peloponnese, Arkadia is an inevitable passage for anyone moving along or across the peninsula. The long life of small and medium-sized agrarian communities undoubtedly owes more to their foundation at crossroads connecting the inland with the Peloponnesian coast, than to their potential for economic growth based on the resources of the land. However, sites such as Analipsis, on its east-southeastern borders, the cemetery at Palaiokastro and the ash altar on Mount Lykaion, both in the southwest part of Arkadia, indicate that the area had a Bronze Age past, and raise many new questions. In this paper, I discuss the role of Arkadia in early Mycenaean times based on settlement patterns and excavation data, and I investigate the relation of these inland communities with high-ranking central places. In other words, this is an attempt to set place(s) into space, supporting the idea that the central region of the Peloponnese was a separated, but not isolated part of it, comprising regions that are also diversified among themselves. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
Ancient History Sourcebook: 11Th Brittanica: Sparta SPARTA an Ancient City in Greece, the Capital of Laconia and the Most Powerful State of the Peloponnese
Ancient History Sourcebook: 11th Brittanica: Sparta SPARTA AN ancient city in Greece, the capital of Laconia and the most powerful state of the Peloponnese. The city lay at the northern end of the central Laconian plain, on the right bank of the river Eurotas, a little south of the point where it is joined by its largest tributary, the Oenus (mount Kelefina). The site is admirably fitted by nature to guard the only routes by which an army can penetrate Laconia from the land side, the Oenus and Eurotas valleys leading from Arcadia, its northern neighbour, and the Langada Pass over Mt Taygetus connecting Laconia and Messenia. At the same time its distance from the sea-Sparta is 27 m. from its seaport, Gythium, made it invulnerable to a maritime attack. I.-HISTORY Prehistoric Period.-Tradition relates that Sparta was founded by Lacedaemon, son of Zeus and Taygete, who called the city after the name of his wife, the daughter of Eurotas. But Amyclae and Therapne (Therapnae) seem to have been in early times of greater importance than Sparta, the former a Minyan foundation a few miles to the south of Sparta, the latter probably the Achaean capital of Laconia and the seat of Menelaus, Agamemnon's younger brother. Eighty years after the Trojan War, according to the traditional chronology, the Dorian migration took place. A band of Dorians united with a body of Aetolians to cross the Corinthian Gulf and invade the Peloponnese from the northwest. The Aetolians settled in Elis, the Dorians pushed up to the headwaters of the Alpheus, where they divided into two forces, one of which under Cresphontes invaded and later subdued Messenia, while the other, led by Aristodemus or, according to another version, by his twin sons Eurysthenes and Procles, made its way down the Eurotas were new settlements were formed and gained Sparta, which became the Dorian capital of Laconia. -
Ruins of the Temple of Heracles at Agrigento in Sicily. (Wikimedia Commons
Ruins of the Temple of Heracles at Agrigento in Sicily. (Wikimedia Commons. Photo by José Luiz) ERCULES (also known as Heracles) tually overpowered it (Figure 3) and their own master. With their appetites Hhad been told by the oracle at Delphi brought it to Greece. This labour of satisfied Heracles was able to control that if he accomplished the tasks set for Her acles might reflect the subjugation them (Figure 4) and with his way of him by Eurystheus, the king of Mycenae, of the Minoan civilization on Crete by dealing with them they were no further he would gain immortality. Part I dealt conquerors from Greece in about 1450 trouble. with the first six of these labours and BC. The Ninth Labour was to obtain Part II will deal with the remaining six. The Eighth Labour was to capture Hippolyte’s girdle. Hippolyte was the The Seventh Labour was to capture the four wild mares that belonged to queen of the Amazons, who were female the Cretan bull. This was a large bull Diomedes, who ruled the fierce tribe of warriors in Asia Minor. The word ‘ama - that terrorized the people of Crete. (Fig - the Bistones in Thrace. The horses lived zon’ means ‘no breast’, and these women ure 1 – map) Some say it was the bull on human flesh and terrorized the had their right breast cut off when they that carried Europa on its back from country. Heracles gathered a band of were young so that they were better Phoenicia to Crete. Others say it was volunteers and went to Thrace. -
Mary Reid Kelley L the Minotaur Trilogy
Mary Reid Kelley l The Minotaur Trilogy 12. March, 2016 - 16. April, 2016 Arratia Beer is pleased to present The Minotaur Trilogy, the first solo exhibition by Mary Reid Kelley with the gallery. Working primarily in video, Mary Reid Kelley’s meticulously composed scripts contest conventions of written language and spoken word, fluctuating between comic and tragic interpretation. Often parodically borrowing structure from Alexander Pope’s heroic couplets or the anapestic meter of Lewis Carroll, the videos fractured narratives reflect their characters’ deluded, perilous states. In her videos the artist usually plays all the roles, disguised through a distinctive monochromatic palette, wigs and heavy make-up. Made in collaboration with Patrick Kelley, her videos are elaborate constructions which include live-action performance; props and set design; drawing, graphic animation and printed word. Comprised by three films – Priapus Agonistes (2013), Swinburne’s Pasiphae (2014) and The Thong of Dionysus (2015) – The Minotaur Trilogy explores the mythological creature’s tragic family tree. The trilogy fuses classical drama, modern literature and contemporary pop culture into razor-sharp observations on gender, class, and urban development. They satirize the promise of progress through dense layering of cultural references ranging from Southern church socials and Women’s Magazines to Borges and Baudelaire. Priapus Agonistes condenses elements of Greek drama and mythology with details of the church volleyball tournaments that the artist witnessed as a child. The Minotaur is re-imagined as a lost daughter in a labyrinthine gymnasium basement, her sacrifices coming in the form of members of the losing volleyball team. Like Jorge Luis Borges’ portrait of the Minotaur as anti-hero in The House of Asterion, the Minotaur of Priapus Agonistes is hopelessly lost in an environment of repetitive space, using the murdered sacrifices as landmarks to help her navigate a path to the lavatory. -
Mary Reid Kelley Reimagines Mythology from a Woman's Point Of
Mary Reid Kelley Reimagines Mythology from a Woman's Poin... http://la-confidential-magazine.com/living/articles/mary-reid-ke... PERSONALITIES | EVENTS | STYLE | FOOD & DRINK | LIVING | WATCHES | MAGAZINE | VIDEO LIVING / MARY REID KELLEY REIMAGINES MYTHOLOGY FROM A WOMAN'S POV FOLLOW US Mary Reid Kelley Reimagines Mythology from a Woman's POV ▸ Read the Digital Issue BY ALLYSON REES ▸ Get the Newsletter For her first museum show in LA, artist Mary Reid Kelley reimagines mythology from a woman’s point of view. ▸ Browse Past Issues Search people, places, events Bull’s eye! Artist Mary Reid Kelley’s video trilogy, in which she collaborated with her husband, Patrick Kelley, has been a hit with viewers and critics alike. The third installment of her ancient-meets-modern-day take on the Greek myth of the Minotaur debuts at the Hammer Museum in May. Upon first viewing Mary Reid Kelley’s video, The Thong of Dionysus, it’s hard to believe the artist was inspired by Picasso, but take a second look at the black and white sets, bug-eyed characters, and cartoonish elements, and Behind the Scenes With Christina you’ll start to detect hints of the Spanish master’s Guernica. Hendricks We go behind the scenes at 'Mad Men' star Christina “Picasso said: ‘Great artists don’t borrow, they steal,’” jokes Reid Kelly, 35. The Thong of Dionysus is the final work Hendricks' cover shoot. in a trilogy that includes her Priapus Agonistes (2013) and Swinburne’s Pasiphae (2014)—which, along with portraits of its recurring characters, will be on display at the Hammer Museum starting May 23. -
The Fall of Minoan Civilization Just As an Unknown Cataclysm Struck Crete
The Fall of Minoan Civilization Just as an unknown cataclysm struck Crete at the end of the Protopalatial period (1700 BC), destroying the palaces and prompting the Minoans to rebuild, another catastrophe occurred at the end of the Neopalatial period (1425 BC). Once again, we do not know what caused the destruction, but unlike the previous catastrophe, the Minoans did not rebuild or recover. Instead, their civilization slowly petered out. The End of the Palace Period on Crete The event traditionally associated with the fall of the Minoans was the eruption of a nearby volcanic island, Mount Thera (modern-day Santorini). This was one of the largest volcanic eruptions in earth’s history, and in 2006, scientists discovered that the eruption was much larger than previously estimated. The eruption certainly destroyed the Minoan settlement of Akrotiri on Mount Thera (Santorini). No human remains have been found at Akrotiri, indicating that the settlement was either evacuated when the volcano showed its first signs of eruption, or the bodies simply have not been found yet. It was previously believed that the Minoan civilization on Crete was wiped out due to massive earthquakes and large amounts of ash that fell on the island from the volcano. It was believed that the earthquakes caused the palaces to crumble, and the ash choked off light and killed plants, leaving the survivors to starve. However, recent research suggests otherwise. Most of the ash from the volcano fell in the opposite direction from Crete, and Crete seems to have suffered only a slight dusting of ash. More destructive was a massive tsunami that resulted from the eruption and devastated the Minoan settlements on the northern coast of Crete. -
Study Questions Helen of Troycomp
Study Questions Helen of Troy 1. What does Paris say about Agamemnon? That he treated Helen as a slave and he would have attacked Troy anyway. 2. What is Priam’s reaction to Paris’ action? What is Paris’ response? Priam is initially very upset with his son. Paris tries to defend himself and convince his father that he should allow Helen to stay because of her poor treatment. 3. What does Cassandra say when she first sees Helen? What warning does she give? Cassandra identifies Helen as a Spartan and says she does not belong there. Cassandra warns that Helen will bring about the end of Troy. 4. What does Helen say she wants to do? Why do you think she does this? She says she wants to return to her husband. She is probably doing this in an attempt to save lives. 5. What does Menelaus ask of King Priam? Who goes with him? Menelaus asks for his wife back. Odysseus goes with him. 6. How does Odysseus’ approach to Priam differ from Menelaus’? Who seems to be more successful? Odysseus reasons with Priam and tries to appeal to his sense of propriety; Menelaus simply threatened. Odysseus seems to be more successful; Priam actually considers his offer. 7. Why does Priam decide against returning Helen? What offer does he make to her? He finds out that Agamemnon sacrificed his daughter for safe passage to Troy; Agamemnon does not believe that is an action suited to a king. Priam offers Helen the opportunity to become Helen of Troy. 8. What do Agamemnon and Achilles do as the rest of the Greek army lands on the Trojan coast? They disguise themselves and sneak into the city. -
Iliad and Odyssey - 800-750 BCE Early Greece
Clst 181SK Ancient Greece and the Origins of Western Culture Early Greece A Basic Chronology 1a. Bronze Age Greece - Minoans The Minoan Civilization (1900-1450 BCE) ! ! Knossos, Crete 1b. Bronze Age Greece - Mycenaeans The Mycenaean Civilization (1450-1200 BCE) Mainland Greece, especially the Peloponnesus Mycenae – Palace Megaron Cf. Megaron at Pylos, Palace of Nestor Mycenae – Demons? Mycenae – Palace Megaron Cf. Megaron at Pylos, Palace of Nestor The Bronze Age - Collapse ! Greek Palace structures are destroyed in about 1200-1150 BCE ! Knossos Mycenae Pylos Thebes Tiryns Troy(!) We do not know how or by whom the devastation occurred - the Greeks told a story of invaders (the “Dorian invasion”) 2. The Greek! “Dark Age” - the Iron Age 1200-800 BCE Lefkandi – Heroön plan ! 2. The Iron Age 1200-750 BCE Early Geometric Vase 850 BCE ! 3. The Archaic Period 750-480 BCE 530 BCE 750 BCE 560 BCE 700 BCE 600 BCE Clst 181SK Ancient Greece and the Origins of Western Culture Early Greece A Basic Chronology ! 1a. Bronze Age - Minoans 1900-1450 BCE 1b. Bronze Age - Mycenaeans 1450-1200 2. Iron Age (Dark Ages) 1200-750 3. Archaic Period 750-480 ! “Trojan War” - 1250-1200 BCE Collapse of Bronze Age palace system - 1200-1150 BCE Homer’s Iliad and Odyssey - 800-750 BCE Early Greece “Trojan War” - 1250-1200 BCE Collapse of Bronze Age palace system - 1200-1150 BCE Homer’s Iliad and Odyssey - 800-750 BCE Question: which early Greece does Homer’s Iliad assume? The Bronze Age era of palaces or the Iron Age era sometimes known as the Dark Ages? ! The Trojan War: The Heroes Note: Ilium or Ilias is another name for Troy, thus the Iliad means the story of the war against Troy ! Mycenae (Mycene) Review: Mesopotamia,Phoenicia, Crete, Cyprus, Delphi, Peloponnesus, Ionia Review: Knossos, Mycenae, Pylos Mycenae – aerial view Lion’s gate reconstruction Mycenae – Demons? Mycenae – Palace Megaron Cf.