Marsyas in the Garden?
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Kings on Coins: the Appearance of Numa on Augustan Coinage
Kings on Coins: The Appearance of Numa on Augustan Coinage AIMEE TURNER1 iconography, which he began to develop and experiment with in the triumviral period, and continued to utilise into his principate.6 Many In 22 BCE, an as was minted bearing the of the images he employed focus on religious image of Augustus Caesar on the obverse and iconography which promoted Augustus as a 7 Numa Pompilius on the reverse. Discussion of restorer of Roman tradition. In 22 BCE, an this coin in the context of Augustan ideology as was produced that featured the image of has been limited.2 Although one aspect of the Augustus on the obverse and Numa Pompilius, coin’s message relates to the promotion of the second king of Rome, on the reverse. the moneyer’s family, a closer analysis of its Numa was the quasi-legendary second king 8 iconographical and historical context provides of Rome, following Romulus. He is credited important evidence for the early public image with establishing the major religious practices 9 of Augustus, particularly in regard to religion. of the city as well as its first peaceful period. To that end, this paper intends to establish the As one of the earliest coins of the principate, traditional use of kings in Republican coins it offers important evidence for the early and the development of religious iconography public image of Augustus and the direction he in early Augustan coinage. By ascertaining intended to take at that time. His propaganda this framework, the full significance of the as was fluid, changing to meet the demands of the of 22 BCE becomes clearer. -
MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats. -
A Story of Five Amazons Brunilde S
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1974 A Story of Five Amazons Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1974. A Story of Five Amazons. American Journal of Archaeology 78:1-17. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/79 For more information, please contact [email protected]. A Story of Five Amazons* BRUNILDE SISMONDO RIDGWAY PLATES 1-4 THEANCIENT SOURCE dam a sua quisqueiudicassent. Haec est Polycliti, In a well-knownpassage of his book on bronze proximaab ea Phidiae, tertia Cresilae,quarta Cy- sculpturePliny tells us the story of a competition donis, quinta Phradmonis." among five artists for the statue of an Amazon This texthas been variously interpreted, emended, (Pliny NH 34.53): "Venereautem et in certamen and supplementedby trying to identifyeach statue laudatissimi,quamquam diversis aetatibusgeniti, mentionedby Pliny among the typesextant in our quoniamfecerunt Amazonas, quae cum in templo museums. It may thereforebe useful to review Dianae Ephesiaedicarentur, placuit eligi probatis- brieflythe basicpoints made by the passage,before simam ipsorum artificum, qui praesenteserant examining the sculpturalcandidates. iudicio,cum apparuitearn esse quam omnes secun- i) The Competition.The mention of a contest * The following works will be quoted in abbreviated form: von Bothmer D. -
16. Stockholm & Brussels 1911 & 1912: a Feminist
1 16. STOCKHOLM & BRUSSELS 1911 & 1912: A FEMINIST INTERNATIONAL? You must realize that there is not only the struggle for woman Suffrage, but that there is another mighty, stormy struggle going on all over the world, I mean the struggle on and near the labour market. Marie Rutgers-Hoitsema 1911 International Woman Suffrage Alliance (IWSA) became effective because it concentrated on one question only. The Alliance (it will be the short word for the IWSA) wanted to show a combatant and forceful image. It was of importance to have many followers and members. Inside the Alliance, there was no room to discuss other aspect of women's citizenship, only the political. This made it possible for women who did not want to change the prevalent gender division of labor to become supporters. The period saw an increase of the ideology about femininity and maternity, also prevalent in the suffrage movement. But some activists did not stop placing a high value on the question of woman's economic independence, on her economic citizenship. They wanted a more comprehensive emancipation because they believed in overall equality. Some of these feminists took, in Stockholm in 1911, the initiative to a new international woman organization. As IWSA once had been planned at an ICW- congress (in London in 1899) they wanted to try a similar break-out-strategy. IWSA held its sixth international congress in June in the Swedish capital. It gathered 1 200 delegates.1 The organization, founded in opposition to the shallow enthusiasm for suffrage inside the ICW, was once started by radical women who wanted equality with men. -
Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Seth G. Bernard University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bernard, Seth G., "Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C." (2012). Publicly Accessible Penn Dissertations. 492. https://repository.upenn.edu/edissertations/492 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/492 For more information, please contact [email protected]. Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Abstract MEN AT WORK: PUBLIC CONSTRUCTION, LABOR, AND SOCIETY AT MID-REPUBLICAN ROME, 390-168 B.C. Seth G. Bernard C. Brian Rose, Supervisor of Dissertation This dissertation investigates how Rome organized and paid for the considerable amount of labor that went into the physical transformation of the Middle Republican city. In particular, it considers the role played by the cost of public construction in the socioeconomic history of the period, here defined as 390 to 168 B.C. During the Middle Republic period, Rome expanded its dominion first over Italy and then over the Mediterranean. As it developed into the political and economic capital of its world, the city itself went through transformative change, recognizable in a great deal of new public infrastructure. -
In Airplane and Ferry Passenger Stories in the Northern Baltic Sea Region
VARSTVOSLOVJE, Risk, Safety and Freedom of Journal of Criminal Justice and Security, year 18 Movement: no. 2 pp. 175‒193 In Airplane and Ferry Passenger Stories in the Northern Baltic Sea Region Sophia Yakhlef, Goran Basic, Malin Åkerström Purpose: The purpose of this study is to map and analyse how travellers at an airport and on ferries experience, interpret and define the risk, safety and freedom of movement in the northern part of the Baltic Sea region with regard to the border agencies. Design/Methods/Approach: This qualitative study is based on empirically gathered material such as field interviews and fieldwork observations on Stockholm’s Arlanda airport in Sweden, and a Tallink Silja Line ferry running between Stockholm and Riga in Latvia. The study’s general starting point was an ethno-methodologically inspired perspective on verbal descriptions along with an interactionist perspective which considers interactions expressed through language and gestures. Apart from this starting point, this study focused on the construction of safety as particularly relevant components of the collected empirical material. Findings: The study findings suggest that many passengers at the airport and on the ferries hold positive views about the idea of the freedom of movement in Europe, but are scared of threats coming from outside Europe. The travellers created and re-created the phenomenon of safety which is maintained in contrast to others, in this case the threats from outside Europe. Originality/Value: The passengers in this study construct safety by distinguishing against the others outside Europe but also through interaction with them. The passengers emphasise that the freedom of movement is personally beneficial because it is easier for EU citizens to travel within Europe but, at the same time, it is regarded as facilitating the entry of potential threats into the European Union. -
Queen Christina's Esoteric Interests As a Background to Her
SUSANNA ÅKERMAN Queen Christina’s Esoteric Interests as a Background to Her Platonic Academies n 1681 the blind quietist, Francois Malaval, stated that Queen Christina of Sweden late in life had ‘given up’ [Hermes] Trismegistos and the IPlatonists, in favour of the Church fathers. The statement does not ex- plain what role the Church fathers were to play in her last years, but it does show that Christina really had been interested in the rather elitist and esoteric doctrine of Hermetic Platonic Christianity. In this paper I shall look at her library to show the depth of this Hermetic involvement. Her interest serves as a background to her life as ex-queen in Italy after her famous abdication from the Swedish throne in 1654, when she was 27 years old. Christina styled herself as the Convert of the Age, and she set up court in Rome where she held a series of scientific and cultural acad- emies in her palace. Her Accademia Reale was staged briefly in the Palazzo Farnese in her first year in Rome, 1656, but was revived in 1674 and was held for a number of years in her own Palazzo Riario.1 Also, Giovanni Ciampini’s Accademia dell’Esperienze, also called Ac cademia Fisico-mathematico, gathered there for their first founding meeting in 1677. Furthermore, she was protectress of the Accademia degli Stravaganti in Collegio Clementina from 1678 and in Orvieto for the Accademia dei Misti. (Christina 1966: 377, cited below as NMU.) Her inspirational presence and resources were valued by many liter- ary figures. After her death in 1689, she was chosen to be a symbolic figurehead, Basilissa (Greek for Empress), by the poets that formed the Accademia dell’Arcadia (D’Onofrio 1976). -
The Story of Marsyas (MAHR-See-Uhs)
PLT PreK8_Act1-20_FRZ 11/1/05 12:11 PM Page 30 StStududenent tPage The Story of Marsyas (MAHR-see-uhs) One day,the goddess Athena found picked the flute up, liked the look of man could better it.Next, it was the beautiful, long thighbone of a it, and decided to keep it.In time, he Apollo’sturn.Though his music was deer.Itwas a pleasing object, and grew fond of the flute and learned as good as Marsyass’ in every way,it she wanted to make something both to play itso well that whoever was not better.And so the Muses attractive and useful from it.She heard him said thatnot even Apollo were unable to declare either of soon decided what she would make could play so beautifully.How was them the winner. and began to work on the bone with unlucky Marsyas to know thatthe greatcare and art. She cutoff both curse of Athena hung over him? He By now Apollo was boiling with rage. ends,cleaned it outwell inside, and had never been one to boast, But He was determined to be revenged then drilled holes down its length. now he began to tell everyone that on the satyr who had belittled Finally,she fashioned a handsome he could make music even better him—by means fair or foul. mouthpiece at the top. When she than golden-haired Apollo. had finished, she placed the mouth- “Very well,” he snarled, “now we piece between her lips and began to It was not long beforethe great god shall play with our instruments blow,placing her fingers up and of music appeared beforethe upside down!” down on the holes. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Expulsion from the Senate of the Roman Republic, C.319–50 BC
Ex senatu eiecti sunt: Expulsion from the Senate of the Roman Republic, c.319–50 BC Lee Christopher MOORE University College London (UCL) PhD, 2013 1 Declaration I, Lee Christopher MOORE, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Thesis abstract One of the major duties performed by the censors of the Roman Republic was that of the lectio senatus, the enrolment of the Senate. As part of this process they were able to expel from that body anyone whom they deemed unequal to the honour of continued membership. Those expelled were termed ‘praeteriti’. While various aspects of this important and at-times controversial process have attracted scholarly attention, a detailed survey has never been attempted. The work is divided into two major parts. Part I comprises four chapters relating to various aspects of the lectio. Chapter 1 sees a close analysis of the term ‘praeteritus’, shedding fresh light on senatorial demographics and turnover – primarily a demonstration of the correctness of the (minority) view that as early as the third century the quaestorship conveyed automatic membership of the Senate to those who held it. It was not a Sullan innovation. In Ch.2 we calculate that during the period under investigation, c.350 members were expelled. When factoring for life expectancy, this translates to a significant mean lifetime risk of expulsion: c.10%. Also, that mean risk was front-loaded, with praetorians and consulars significantly less likely to be expelled than subpraetorian members. -
Title: Midas, the Golden Age Trope, and Hellenistic Kingship in Ovid's
Title: Midas, the Golden Age trope, and Hellenistic Kingship in Ovid’s Metamorphoses Abstract: This article proposes a sustained politicized reading of the myth of Midas in Ovid’s Metamorphoses. It argues that Midas stands, first, as the embodiment of failed, Hellenistic kingship, with its ostentatious display of wealth and heralding of a new Golden Age, and, second, as a warning against the infectious “love of gold”, to which Roman politicians are far from immune. While the capture of Silenus and the golden touch episode link Midas with the tropes of Hellenistic kingship, his involvement in the competition between Pan and Apollo raises questions about the tropes of Roman imperial power itself. 0 Midas, the Golden Age trope, and Hellenistic Kingship in Ovid’s Metamorphoses It might be heaven, this static Plenitude: apples gold on the bough, Goldfinch, goldfish, golden tiger cat stock - Still in one gigantic tapestry – Sylvia Plath, In Midas' Country Ovid provides the fullest and most elaborate account of the myth of Midas that has come down to us from Classical Antiquity. His version conflates what must have been three different myths involving the legendary Phrygian king: first, his encounter with or capture of Silenus, second, the gift of the golden touch, which turned into a curse, and third, his acquisition of ass’s ears –– in Ovid’s version as a punishment by Apollo for his musical preferences. Throughout the narrative (11.85-193) Midas emerges as a figure of ridicule, a man unable to learn from his mistakes1. Despite the amount of criticism that has focused on the Metamorphoses, this episode has attracted remarkably little attention. -
Focus on Greek Sculpture
Focus on Greek Sculpture Notes for teachers Greek sculpture at the Ashmolean • The classical world was full of large high quality statues of bronze and marble that honoured gods, heroes, rulers, military leaders and ordinary people. The Ashmolean’s cast collection, one of the best- preserved collections of casts of Greek and Roman sculpture in the UK, contains some 900 plaster casts of statues, reliefs and architectural sculptures. It is particularly strong in classical sculpture but also includes important Hellenistic and Roman material. Cast collections provided exemplary models for students in art academies to learn to draw and were used for teaching classical archaeology. • Many of the historical casts, some dating back to the eighteenth and nineteenth centuries, are in better condition than the acid rain-damaged originals from which they were moulded. They are exact plaster replicas made, with piece moulds that leave distinctive seams on the surface of the cast. • The thematic arrangement of the Cast Gallery presents the contexts in which statues were used in antiquity; sanctuaries, tombs and public spaces. Other galleries containing Greek sculpture, casts and ancient Greek objects Gallery 14: Cast Gallery Gallery 21: Greek and Roman Sculpture Gallery 16: The Greek World Gallery 7: Money Gallery 2: Crossing Cultures Gallery 14: Cast Gallery 1. Cast of early Greek kouros, Delphi, Greece, 2. Cast of ‘Peplos kore’, from Athenian Acropolis, c570BC c530BC The stocky, heavily muscled naked figure stands The young woman held an offering in her in the schematic ‘walking’ pose copied from outstretched left hand (missing) and wears an Egypt by early Greek sculptors, signifying motion unusual combination of clothes: a thin under- and life.