Pindar's Material Imaginary
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Alexander the Great and Hephaestion
2019-3337-AJHIS-HIS 1 Alexander the Great and Hephaestion: 2 Censorship and Bisexual Erasure in Post-Macedonian 3 Society 4 5 6 Same-sex relations were common in ancient Greece and having both male and female 7 physical relationships was a cultural norm. However, Alexander the Great is almost 8 always portrayed in modern depictions as heterosexual, and the disappearance of his 9 life-partner Hephaestion is all but complete in ancient literature. Five full primary 10 source biographies of Alexander have survived from antiquity, making it possible to 11 observe the way scholars, popular writers and filmmakers from the Victorian era 12 forward have interpreted this evidence. This research borrows an approach from 13 gender studies, using the phenomenon of bisexual erasure to contribute a new 14 understanding for missing information regarding the relationship between Alexander 15 and his life-partner Hephaestion. In Greek and Macedonian society, pederasty was the 16 norm, and boys and men did not have relations with others of the same age because 17 there was almost always a financial and power difference. Hephaestion was taller and 18 more handsome than Alexander, so it might have appeared that he held the power in 19 their relationship. The hypothesis put forward here suggests that writers have erased 20 the sexual partnership between Alexander and Hephaestion because their relationship 21 did not fit the norm of acceptable pederasty as practiced in Greek and Macedonian 22 culture or was no longer socially acceptable in the Roman contexts of the ancient 23 historians. Ancient biographers may have conducted censorship to conceal any 24 implication of femininity or submissiveness in this relationship. -
Beauty on Display Plato and the Concept of the Kalon
BEAUTY ON DISPLAY PLATO AND THE CONCEPT OF THE KALON JONATHAN FINE Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Jonathan Fine All rights reserved ABSTRACT BEAUTY ON DISPLAY: PLATO AND THE CONCEPT OF THE KALON JONATHAN FINE A central concept for Plato is the kalon – often translated as the beautiful, fine, admirable, or noble. This dissertation shows that only by prioritizing dimensions of beauty in the concept can we understand the nature, use, and insights of the kalon in Plato. The concept of the kalon organizes aspirations to appear and be admired as beautiful for one’s virtue. We may consider beauty superficial and concern for it vain – but what if it were also indispensable to living well? By analyzing how Plato uses the concept of the kalon to contest cultural practices of shame and honour regulated by ideals of beauty, we come to see not only the tensions within the concept but also how attractions to beauty steer, but can subvert, our attempts to live well. TABLE OF CONTENTS Acknowledgements ii 1 Coordinating the Kalon: A Critical Introduction 1 1 The Kalon and the Dominant Approach 2 2 A Conceptual Problem 10 3 Overview 24 2 Beauty, Shame, and the Appearance of Virtue 29 1 Our Ancient Contemporaries 29 2 The Cultural Imagination 34 3 Spirit and the Social Dimension of the Kalon 55 4 Before the Eyes of Others 82 3 Glory, Grief, and the Problem of Achilles 100 1 A Tragic Worldview 103 2 The Heroic Ideal 110 3 Disgracing Achilles 125 4 Putting Poikilia in its Place 135 1 Some Ambivalences 135 2 The Aesthetics of Poikilia 138 3 The Taste of Democracy 148 4 Lovers of Sights and Sounds 173 5 The Possibility of Wonder 182 5 The Guise of the Beautiful 188 1 A Psychological Distinction 190 2 From Disinterested Admiration to Agency 202 3 The Opacity of Love 212 4 Looking Good? 218 Bibliography 234 i ACKNOWLEDGEMENTS “To do philosophy is to explore one’s own temperament,” Iris Murdoch suggested at the outset of “Of ‘God’ and ‘Good’”. -
Corinth, 1984: East of the Theater
CORINTH, 1984: EAST OF THE THEATER (PLATES 6-18) RTZHE EXCAVATIONS conductedin 1984 by the American School of Classical Studies at Ancient Corinth have been an expansion of the work executed by the School east of the Theater in 1983.1 Investigations were continued along the west side of East Theater Street around the vomitorium of the Theater and on the east side of the same street where three different Roman buildings now have been distinguished (P1. 6). The buildings are numbered southward starting at the gateway from the theatrical court, with the odd num- bers assigned to the east side of East Theater Street. In this report those structures are designated as Building 1, Building 3, and Building 5 of that street; the last of these is the structure that in the previous Hesperia report was called the Terraced Building.2 During the 1984 excavation season much new architecturalmaterial was uncovered;many newly excavatedfills now can be associatedwith constructionoperations after 44 B.C.and destruc- tions of-the various buildings terminating ca. A.D. 400. All this indicates that the area along East Theater Street has a much more complex history than that published in the previous Hesperia report. BUILDING 1, EAST THEATER STREET (Fig. 7, P1. 7:a, b) Building 1 has been only partially excavated; activity was continued this year within its I Once again this year excavating at Ancient Corinth was made possible by permission of the Greek Ar- chaeologicalService and by the cooperationof the ArchaeologicalEphoreia of the Argolid and the Corinthia. The Director of the American School of Classical Studies at Athens, Stephen G. -
Kretan Cult and Customs, Especially in the Classical and Hellenistic Periods: a Religious, Social, and Political Study
i Kretan cult and customs, especially in the Classical and Hellenistic periods: a religious, social, and political study Thesis submitted for degree of MPhil Carolyn Schofield University College London ii Declaration I, Carolyn Schofield, 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 acknowledged in the thesis. iii Abstract Ancient Krete perceived itself, and was perceived from outside, as rather different from the rest of Greece, particularly with respect to religion, social structure, and laws. The purpose of the thesis is to explore the bases for these perceptions and their accuracy. Krete’s self-perception is examined in the light of the account of Diodoros Siculus (Book 5, 64-80, allegedly based on Kretan sources), backed up by inscriptions and archaeology, while outside perceptions are derived mainly from other literary sources, including, inter alia, Homer, Strabo, Plato and Aristotle, Herodotos and Polybios; in both cases making reference also to the fragments and testimonia of ancient historians of Krete. While the main cult-epithets of Zeus on Krete – Diktaios, associated with pre-Greek inhabitants of eastern Krete, Idatas, associated with Dorian settlers, and Kretagenes, the symbol of the Hellenistic koinon - are almost unique to the island, those of Apollo are not, but there is good reason to believe that both Delphinios and Pythios originated on Krete, and evidence too that the Eleusinian Mysteries and Orphic and Dionysiac rites had much in common with early Kretan practice. The early institutionalization of pederasty, and the abduction of boys described by Ephoros, are unique to Krete, but the latter is distinct from rites of initiation to manhood, which continued later on Krete than elsewhere, and were associated with different gods. -
Poetic Authority and Oral Tradition in Hesiod and Pindar
CHAPTER SIX POETIC AUTHORITY AND ORAL TRADITION IN HESIOD AND PINDAR Ruth Scodel Elsewhere, I have discussed the distinction Homer makes, especially in the Odyssey, between the songs of bards and other storytelling.1 This argument rests especially on three recent insights that appear to point in quite opposite directions. First, Andrew Ford shows in Homer: the Poetry of the Past how the Odyssey evades the reality of the transmission of poetic tradition as well as that of bardic contests. The Muses simply replace poets’ teachers; the narrative content of per- formance has no naturalistic source.2 S. Douglas Olson has shown in Blood and Iron how richly the same epic depicts the workings of everyday oral tradition, its considerable interest in how news gets around.3 Third, Louise Pratt argues convincingly that the truth-claims of early Greek poetry need to be interpreted relative to their rhetor- ical functions in context. While only fables are truly fiction, for most poetic narrative historical accuracy is not the primary concern.4 Homer, then, shows how people in reality create and spread kleos, but he seems to want to avoid facing the obvious implication that poetic performances depend on what earlier storytellers have trans- mitted. The proem to the Catalogue of Ships perfectly demonstrates this peculiarity in its distinction between the Muses, who see and hear everything, and poet and audience, who only hear the kleos and know nothing (Il. 2.484–93). So in asking why Homer does not acknowledge openly that his stories depend on tradition, I looked at what distinguishes bardic performances from other storytelling prac- tices in Homer, and concluded that the most important distinctions 1 R. -
INTERNATIONAL OLYMPIC ACADEMY 20Th INTERNATIONAL
INTERNATIONAL OLYMPIC ACADEMY 20th INTERNATIONAL SEMINAR ON OLYMPIC STUDIES FOR POSTGRADUATE STUDENTS 1 – 29 SEPTEMBER 2013 PROCEEDINGS ANCIENT OLYMPIA Published by the International Olympic Academy and the International Olympic Committee 2014 International Olympic Academy 52, Dimitrios Vikelas Avenue 152 33 Halandri – Athens GREECE Tel.: +30 210 6878809-13, +30 210 6878888 Fax: +30 210 6878840 E-mail: [email protected] Website: www.ioa.org.gr Editor Prof. Konstantinos Georgiadis, IOA Honorary Dean Editorial coordination Roula Vathi ISBN: 978-960-9454-29-2 INTERNATIONAL OLYMPIC ACADEMY 20th INTERNATIONAL SEMINAR ON OLYMPIC STUDIES FOR POSTGRADUATE STUDENTS SPECIAL SUBJECT THE LEGACY OF THE OLYMPIC GAMES: INFRASTRUCTURE, ART, QUALITY OF LIFE AND ECONOMICAL PARAMETERS ANCIENT OLYMPIA EPHORIA OF THE INTERNATIONAL OLYMPIC ACADEMY (2013) President Isidoros KOUVELOS (HOC Member) Vice-President Michail FYSSENTZIDIS (HOC Member) Members Charalambos NIKOLAOU (IOC Member – ex officio member) Spyridon CAPRALOS (HOC President – ex officio member) Emmanuel KATSIADAKIS (HOC Secretary General – ex officio member) Evangelos SOUFLERIS (HOC Member) Efthimios KOTZAS (Mayor of Ancient Olympia) Christina KOULOURI Dora PALLI Honorary President Jacques ROGGE (Former IOC President) Honorary Members Τ.A. Ganda SITHOLE (Director of International Coope ra tion and Development Dpt., IOC) Pere MIRÓ (Director, Olympic Solidarity, IOC) Honorary Dean Konstantinos GEORGIADIS Director Dionyssis GANGAS 5 HELLENIC OLYMPIC COMMITTEE (2013) President Spyridon I. CAPRALOS 1st -
Manuscrit Acceptat
MANUSCRIT ACCEPTAT The South-eastern Aegean Mercourios Georgiadis Lemos, I.; Kotsonas, A. (eds.), A Companion to the Archaeology of Early Llibre Greece and the Mediterranean. Oxford: Wiley-Blackwell, 2020 ISBN 978-1-118-77019-1 Disponible Data de publicació 2020 en línia Per citar aquest document: Mercourios Georgiadis, "The Southeastern Aegean" a Lemos, I.; Kotsonas, A. (eds.), A Companion to the Archaeology of Early Greece and the Mediterranean, Wiley-Blackwell, Oxford, p. 985-1006. Aquest arxiu PDF conté el manuscrit acceptat per a la seva publicació. The South-eastern Aegean Keywords: South-eastern Aegean, Rhodes, Kos, burials, graves, pottery, sanctuary, cremation, inhumation, past Introduction The area of the South-eastern Aegean is defined here as the region known today as the Dodecanese and parts of Anatolia on the opposite coast, like the Halicarnassos peninsula. This area of the Aegean had been under the Minoan cultural influence from as early as the Middle Bronze Age in terms of its material culture and architecture (Georgiadis 2003). The South-eastern Aegean has yielded many remains of the LH III and the EIA, whilst it possesses a strategic position in the Aegean Sea in relation to its contacts and interactions with the Eastern Mediterranean. The traditional forms of explanation for culturalACCEPTAT development and change in this region have focused on migration and the presence of newcomers. In fact, this has been a common denominator in the understanding of the Southern-eastern Aegean equally for the Late Helladic III period and the Early Iron Age. The thorough and up-to-date presentation of the different cultural aspects and periods from this area will demonstrate the regional character and the idiosyncrasies that are visible already from the LH III phase. -
Middle Comedy: Not Only Mythology and Food
Acta Ant. Hung. 56, 2016, 421–433 DOI: 10.1556/068.2016.56.4.2 VIRGINIA MASTELLARI MIDDLE COMEDY: NOT ONLY MYTHOLOGY AND FOOD View metadata, citation and similar papersTHE at core.ac.ukPOLITICAL AND CONTEMPORARY DIMENSION brought to you by CORE provided by Repository of the Academy's Library Summary: The disappearance of the political and contemporary dimension in the production after Aris- tophanes is a false belief that has been shared for a long time, together with the assumption that Middle Comedy – the transitional period between archaia and nea – was only about mythological burlesque and food. The misleading idea has surely risen because of the main source of the comic fragments: Athenaeus, The Learned Banqueters. However, the contemporary and political aspect emerges again in the 4th c. BC in the creations of a small group of dramatists, among whom Timocles, Mnesimachus and Heniochus stand out (significantly, most of them are concentrated in the time of the Macedonian expansion). Firstly Timocles, in whose fragments the personal mockery, the onomasti komodein, is still present and sharp, often against contemporary political leaders (cf. frr. 17, 19, 27 K.–A.). Then, Mnesimachus (Φίλιππος, frr. 7–10 K.–A.) and Heniochus (fr. 5 K.–A.), who show an anti- and a pro-Macedonian attitude, respec- tively. The present paper analyses the use of the political and contemporary element in Middle Comedy and the main differences between the poets named and Aristophanes, trying to sketch the evolution of the genre, the points of contact and the new tendencies. Key words: Middle Comedy, Politics, Onomasti komodein For many years, what is known as the “food fallacy”1 has been widespread among scholars of Comedy. -
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C. -
The Higher Aspects of Greek Religion. Lectures Delivered at Oxford and In
BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Henirg m. Sage 1891 .A^^^ffM3. islm^lix.. 5931 CornelJ University Library BL 25.H621911 The higher aspects of Greek religion.Lec 3 1924 007 845 450 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924007845450 THE HIBBERT LECTURES SECOND SERIES 1911 THE HIBBERT LECTURES SECOND SERIES THE HIGHER ASPECTS OF GREEK RELIGION LECTURES DELIVERED AT OXFORD AND IN LONDON IN APRIL AND MAY igii BY L. R. FARNELL, D.Litt. WILDE LECTURER IN THE UNIVERSITY OF OXFORD LONDON WILLIAMS AND NORGATE GARDEN, W.C. 14 HENRIETTA STREET, COVENT 1912 CONTENTS Lecture I GENERAL FEATURES AND ORIGINS OF GREEK RELIGION Greek religion mainly a social-political system, 1. In its earliest " period a " theistic creed, that is^ a worship of personal individual deities, ethical personalities rather than mere nature forces, 2. Anthrqgomorphism its predominant bias, 2-3. Yet preserving many primitive features of " animism " or " animatism," 3-5. Its progress gradual without violent break with its distant past, 5-6. The ele- ment of magic fused with the religion but not predominant, 6-7. Hellenism and Hellenic religion a blend of two ethnic strains, one North-Aryan, the other Mediterranean, mainly Minoan-Mycenaean, 7-9. Criteria by which we can distinguish the various influences of these two, 9-1 6. The value of Homeric evidence, 18-20. Sum- mary of results, 21-24. Lecture II THE RELIGIOUS BOND AND MORALITY OF THE FAMILY The earliest type of family in Hellenic society patrilinear, 25-27. -
The Iconography of the Honey Bee in Western Art
Dominican Scholar Master of Arts in Humanities | Master's Liberal Arts and Education | Graduate Theses Student Scholarship May 2019 The Iconography of the Honey Bee in Western Art Maura Wilson Dominican University of California https://doi.org/10.33015/dominican.edu/2019.HUM.06 Survey: Let us know how this paper benefits you. Recommended Citation Wilson, Maura, "The Iconography of the Honey Bee in Western Art" (2019). Master of Arts in Humanities | Master's Theses. 6. https://doi.org/10.33015/dominican.edu/2019.HUM.06 This Master's Thesis is brought to you for free and open access by the Liberal Arts and Education | Graduate Student Scholarship at Dominican Scholar. It has been accepted for inclusion in Master of Arts in Humanities | Master's Theses by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. This thesis, written under the direction of the candidate's thesis advisor and approved by the department chair, has been presented to and accepted by the Master of Arts in Humanities Program in partial fulfillment of the equirr ements for the degree of Master of Arts in Humanities. An electronic copy of of the original signature page is kept on file with the Archbishop Alemany Library. Maura Wilson Candidate Joan Baranow, PhD Program Chair Joan Baranow, PhD First Reader Sandra Chin, MA Second Reader This master's thesis is available at Dominican Scholar: https://scholar.dominican.edu/humanities- masters-theses/6 i The Iconography of the Honey Bee in Western Art By Maura Wilson This thesis, written under the direction of the candidate’s thesis advisor and approved by the program chair, has been presented to an accepted by the Department of Humanities in partial fulfillment of the requirements for the degree of Master of Arts in Humanities Dominican University of California San Rafael, CA May 2019 ii iii Copyright © Maura Wilson 2019. -
The Phenomenon of Chance in Ancient Greek Thought
THE PHENOMENON OF CHANCE IN ANCIENT GREEK THOUGHT by MELISSA M. SHEW A DISSERTATION Presented to the Department of Philosophy and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Doctor of Philosophy September 2008 11 University of Oregon Graduate School Confirmation of Approval and Acceptance of Dissertation prepared by: Melissa Shew Title: "The Phenomenon of Chance in Ancient Greek Thought" This dissertation has been accepted and approved in partial fulfillment ofthe requirements for the degree in the Department ofPhilosophy by: Peter Warnek, Chairperson, Philosophy John Lysaker, Member, Philosophy Ted Toadvine, Member, Philosophy James Crosswhite, Outside Member, English and Richard Linton, Vice President for Research and Graduate Studies/Dean ofthe Graduate School for the University of Oregon. September 6, 2008 Original approval signatures are on file with the Graduate School and the University of Oregon Libraries. 111 An Abstract of the Dissertation of Melissa M. Shew for the degree of Doctor of Philosophy in the Department of Philosophy to be taken September 2008 Title: THE PHENOMENON OF CHANCE IN ANCIENT GREEK THOUGHT Approved: Dr. Peter Warnek This dissertation engages three facets of Greek philosophy: 1) the phenomenon of tyche (chance, fortune, happening, or luck) in Aristotle's Physics, Nicomachean Ethics, and Poetics; 2) how tyche infonns Socrates' own philosophical practice in the Platonic dialogues; and 3) how engaging tyche in these Greek texts challenges established interpretations of Greek thought in contemporary scholarship and discussion. I argue that the complex status of tyche in Aristotle's texts, when combined with its appearance in the Platonic dialogues and the framework of Greek myth and poetry (poiesis), underscores the seriousness with which the Greeks consider the role of chance in human life.