A Sacred Space of the Goddess Hērā

Total Page:16

File Type:pdf, Size:1020Kb

A Sacred Space of the Goddess Hērā Where it all comes together for me: a sacred space of the goddess Hērā The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2016.03.16. "Where it all comes together for me: a sacred space of the goddess Hērā". Classical Inquiries. http:// nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/where-it-all-comes- together-for-me-a-sanctuary-of-the-goddess-hera/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:39699952 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. Classical Inquiries is published under a Creative Commons Attribution-NonCommercial 4.0 In- ternational License. Every efort is made to use images that are in the public domain or shared under Creative Commons licenses. Copyright on some images may be owned by the Center for Hellenic Studies. Please refer to captions for information about copyright of individual images. Citing Articles from Classical Inquiries To cite an article from Classical Inquiries, use the author’s name, the date, the title of the article, and the following persistent identifer: http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries. For example: Nagy, G. 2019.01.31. “Homo Ludens at Play with the Songs of Sappho: Experiments in Comparative Reception Teory, Part Four.” Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Classical Inquiries Studies on the Ancient World from CHS Home About People Home » By Gregory Nagy » Where it all comes together for me: a sacred space of the goddess Hērā Where it all comes together for me: a Share This sacred space of the goddess Hērā March 16, 2016 By Gregory Nagy listed under By Gregory Nagy Comments off Edit This Here was the setting for the ordeal endured by Kleobis and Biton as substitutes for the sacrificial oxen that were meant to pull the ceremonial cart carrying the priestess of the goddess Hērā across the length of the plain in a sacred procession that started at the city of Argos and reached its climax at the heights of the sacred space of the goddess, known as the Hēraion. [full article here] Classical Inquiries (CI) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. Editor Keith Stone [email protected] Search for: Search Subscribe Now! Subscribe to this site to receive email updates about the latest research—just one or two notices per week. EU/EEA Privacy Disclosures Now Online Participants from the 2016 Harvard Spring Break travel study program explore the Hēraion. 2016.03.15 was a day when I revisited the sacred space of the goddess Hērā overlooking the Plain of Argos. I was in good company, accompanied as I was by a group participating in the 2016 Harvard Spring Break travel study program (they will all be listed at the conclusion of this short essay). Almost exactly a year earlier, 2015.03.18, I had visited the same place in the company of an earlier group participating in the 2015 version of the same travel study program. As I write, 2016.03.16, I am about to visit Delphi, both the ancient site and the museum there, in the good company of the 2016 travel study group. Housed in that museum are twin statues representing the heroic figures of Kleobis and Biton, two young sons of a priestess of Hērā. According to a story retold by the notional ‘father of history’, Herodotus, these two youths experienced a mystical death inside the sacred space of Hērā and were then honored in a very special way by the people of Argos, who arranged for the placement of statues representing Kleobis and Biton in the sacred space of Apollo at Delphi. By a stroke of good fortune, these twin statues were unearthed in modern times and now occupy pride of place in the Museum at Delphi. As you enter the museum and turn right and then left, they are the first thing you see on display. There they are, larger­ than­life­size, just standing there and giving you an ethereal stare. But they are not really staring at you, since their grand stature makes it seem as if they were looking not at you when you look back at them but beyond you. The way they look, you would think that they are viewing their own heroic story. The significance of that story, as I emphasized last year in my posting for 2015.03.20, is all­important for the historical project of Herodotus. But this year I emphasize, as I signaled already in the title for this posting of 2016.03.16, the significance of this same story for my own ongoing quest to understand the relationship of the goddess Hērā to the very idea of what it is to be a hero. As I say already in the title of my posting here, it all comes together for me when I stand in the sacred space of Hērā and look down from the heights of this holy place, viewing below the expansive Plain of Argos. Here was the setting for the ordeal endured by Kleobis and Biton as substitutes for the sacrificial oxen that were meant to pull the ceremonial cart carrying the priestess of the goddess Hērā across the length of the plain in a sacred procession that started at the city of Argos and reached its climax at the heights of the sacred space of the goddess, known as the Hēraion. In my book The Ancient Greek Hero in 24 Hours 13§§11–22 (see also 11§17), I quote and analyze the Top Posts & Pages story as told by Herodotus in his Histories at 1.31.1–5 (see H24H Hour 13 Text D) about the heroic ordeal of these two young men. To read this story, I argue, is to understand how the goddess Hērā, as the guiding cosmic principle that makes everything come together, was worshipped as the divine force that defined for the ancient Greeks The Last Words of Socrates at what it means to become a hero. the Place Where He Died This short essay is dedicated to the group participating in the 2016 Harvard Spring Break travel study Helen of Troy: Unwomanly in program: Stefan Ahlblad & Louise Wolf & Hannah Ahlblad, Justine Anderson, Kim Bendheim, Page Caufield, Her Sexuality Marina Cheilitsi, Qingqing Dawn Chong, Tayt Harlin, Debbie Desilet­Dobbs & Gabrielle Dobbs & Michael Dobbs & Tyler Dobbs, Robert Dolgoff & Margarita Nicole, Barry Feirstein & Holly Feirstein, Jess Garcia, A Roll of the Dice for Ajax Marwa Harp, Jinhee Kim & Avery Kim, Mari Kinoshita, Christina Kwon, Suzanna Lansing, Eleni Palaiologou, Elliott Schlang & Gail Cohn Schlang, Jacob Verrey, Klaus Koester & Johanna Walser, Den­Tung Wang, Eleni Zachariou, Christina Zeina. Most Common Tags Tags: Biton, cult hero, HAA travel­study, Hera, Hēraion, Herodotus, Kleobis Comments are closed. « Things noted during five days of travel­study in Greece, 2016.03.13–18 Achilles Aphrodite apobatēs Ariadne Jean Bollack in English, a preview of a foreword to The Art of Reading, Part I » Aristotle Artemis Athena Athens Catullus Chalcis chariot fighting Commentary Delphi Demodokos Dionysus etymology Euripides Gregory Nagy H24H HAA travel-study Helen Hera Herodotus Hippolytus Homer Homeric epic Iliad Jean Bollack lament Lelantine War mimesis Minoan Empire Mycenae Odysseus Odyssey Pausanias Phaedra Pindar Plato Poetics Posidippus Sappho Theseus weaving Zeus Archives Archives Users Log out Classical Inquiries, edited by Keith Stone, is licensed under a Creative Commons Attribution­NonCommercial 4.0 International License. EU/EEA Privacy Disclosures Cookie Policy CHS GR Privacy Notice Classical Inquiries powered by WordPress and The Clear Line Theme .
Recommended publications
  • Handout 2008 for Dialogue 20
    Dialogue 20 The hero as mirror of men’s and women’s experiences. Key word: telos ‘coming full circle, rounding out, fulfillment, completion, ending, end; successfully passing through an ordeal; ritual, rite’. To be linked with another key word, athlos (aethlos) ‘contest, ordeal; competition’; derivative word: athlētēs ‘athlete’; related concepts are agōn ‘contest, ordeal; competition’ and ponos ‘pain’ [sharp, shooting pain] and kamatos ‘pain’ [dull, aching pain]. Note the beginning of the Hippolytus. At line 32, there is a reference to a sacred space in Athens where Aphroditē epi hippolutōi ‘Our Lady of Horses Unbridled’ is worshipped; this name contains the imagery of chariot-driving. Experiences that are ingredients for coming of age, initiation, rite of passage men’s experiences: song and dance, marriage; athletics; hunting, war women’s experiences: song and dance, marriage; athletics [mostly running]; menstruation, childbirth The underlinings indicate asymmetry from a modern point of view but symmetry from an ancient point of view. A) Euripides Hippolytus 73-87: For you, goddess, I bring this woven garland, culled from a virgin meadow, where it is not fit for the shepherd to pasture his flocks, nor has iron yet come there, but unspoiled still in springtime the bees fly through this meadow. Aidōs tends it with pure river water, and those who by their nature always use moderation [sōphrosunē] in all things, instead of having learned it, they can pick flowers, but it is not lawful [themis] for the kakos. Philē mistress, for your golden locks accept this headband from my reverent hand. I alone among mortals have this privilege: I keep company with you and make conversation, hearing your voice although not seeing your face.
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-0-521-52929-7 - The Cambridge Companion to Archaic Greece Edited by H. A. Shapiro Index More information Index S Abdera, 43 agora, 46–48, 147, 204, 212, 213 Abydos, 208 Agylla/Caere, 226 Achaeans/Achaians, 48, 50, 51, 52, 57, Aiakos, 234 74, 112, 113, 118, 120, 123, 202, 207 Aigai, 51 Achaia, 49, 51, 56, 57 Aigeira, 51 Achilles, 103, 111, 112, 113, 114, 118, 119, Aigialeis, 56 120, 121, 122, 126, 268–269, 278 Aigila, 79 Acropolis. See Athens Aigimios. See Dorians Adrastus, 153 Aigina, 77 Aeaces I, tyrant of Samos, 34 Aineias Taktikos, 70 Aeaces II, son of Syloson, 34 Aischines, 50 Aeacids, 32, 34 Aisymnetes, 34 Aeantides, son of Hippocles, 30 Aitnissai. See Aeschylus Aelian, 166 Aitolia, 49, 50, 52 Aeneas, 66 Aitolians, 49, 50, 51 Aeolians, 23 Ajax, 120, 123, 268–269, 278 Aeolic dialect, 113 Akarnania, 49, 50 Aeolus, 216 Akragas, 207, 218, 220 Aeschines/Aiskhines, tyrant of Sicyon, Akrai, 207, 216 24, 243, 244 Al Mina, 203 Aeschylus, 242 Alcaeus/Alkaios of Mytilene, 16–17, 32, Aitnissai, 220 47, 67, 141, 142, 143, 147, 149–150 , Eumenides, 132 152 , 158 , 159 , 160, 162 Aethiopis. See Epic Cycle Alcidamas, poet. See Aetnans, 237 Alcinous, 113, 127 Africa, 207, 210, 211 Alcman of Sparta, 6, 94–95, 147 agalmata, 241 Alcmeonids/Alkmaionids, 29, 30, 31 , 33, Agamemnon, 48, 114, 119, 122–123, 247–251 125–126, 242 Alcock, Susan E., 77 Agariste, daughter of Cleisthenes, 22 Alexander the Great, 3, 6, 222 Agasicles of Halicarnassus, 232, 242, 248 Alexandros. See Paris Agasicles, tyrant of Halicarnassus, 232 Alkmaion, 233 agathoi, 48 Alkmaionides, 233–235, 237, 239, 247 agelai, 90–92, 97 Amaltheia, 236 agoge, 90 Amasis, pharaoh, 247 agonal warfare, 76–77 Ampheia, 77, 78 287 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-52929-7 - The Cambridge Companion to Archaic Greece Edited by H.
    [Show full text]
  • On April 20Th, Dr. Anja Slaw
    “How fast does a city recover from destruction? A new view of the creation of the Severe Style” On April 20th, Dr. Anja Slawisch, a research fellow at University of Cambridge, presented her careful reconsideration of the transition from Archaic period to Classical period in art, especially in sculpture. I will first give some historical background and conventional understanding of this transition, and then elaborate on her argument. Conventionally, the sack of Athens during the Persian War in 480 BCE spurred the artistic development from austere Archaic style (see statues of Kleobis and Biton below1) to the Severe Style (see Harmodius and Aristogeiton, the tyrannicides2), and hence marks the transition from Archaic period into Classical period in art. The most important feature that sets severe style apart from the Archaic is a more naturalistic depiction of the human anatomy. For statues of the tyrannicides, the human bodies were made as an organic system - their pelves shift according to their stances, as opposed to the awkward posture of Kleobis and Biton. In this widely-accepted narrative, the destruction of Athens, heavily influencing the psyche of Athenians, stimulated these stark changes and inventions in artistic style. As a consequence, 480 BCE became a reference point for archaeologists in dating these statues according to their features. Statues of Kleobis and Biton Harmodius and Aristogeiton 1 Statues of Kleobis and Biton (identified by inscriptions on the base) dedicated to Delphi by the city of Argos, signed by ​ [Poly?]medes of Argos. Marble, ca. 580 BC. H. 1.97 m (6 ft. 5 ½ in.), after restoration.
    [Show full text]
  • The Origins of the Kouros
    THE ORIGINS OF THE KOUROS By REBECCA ANN DUNHAM A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Rebecca Ann Dunham This document is dedicated to my mom. TABLE OF CONTENTS page LIST OF FIGURES ........................................................................................................... vi ABSTRACT.........................................................................................................................x CHAPTER 1 DEFINITION OF THE KOUROS TYPE ....................................................................1 Pose...............................................................................................................................2 Size and material...........................................................................................................2 Nudity ...........................................................................................................................3 Body Shape and Treatment of Musculature .................................................................3 Execution ......................................................................................................................4 Function ........................................................................................................................5 Provenances ..................................................................................................................7
    [Show full text]
  • Epigraphic Bulletin for Greek Religion 2009 (EBGR 2009)
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 25 | 2012 Varia Epigraphic Bulletin for Greek Religion 2009 (EBGR 2009) Angelos Chaniotis Electronic version URL: http://journals.openedition.org/kernos/2117 DOI: 10.4000/kernos.2117 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 26 October 2012 Number of pages: 185-232 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, « Epigraphic Bulletin for Greek Religion 2009 », Kernos [Online], 25 | 2012, Online since 20 November 2014, connection on 15 September 2020. URL : http://journals.openedition.org/ kernos/2117 Kernos Kernos 25(2012),p.185-232. Epigraphic Bulletin for Greek Religion 2009 (EBGR 2009) The 22nd issue of the Epigraphic Bulletin for Greek Religion presents a selection of the epigraphicpublicationsof2009andsomeadditionstoearlierissues.Followingthepractice ofthemostrecentissues,emphasiswasplacedonthepresentationofnew corporaand editions of new texts, rather than on summarizing books or articles that use epigraphic material.Duetodemandingresearchandadministrativeduties,thisyearIhavebeenunable tocompletethesurveyofjournalsontime.Inordertoavoiddelaysinthepublicationof Kernos , I could only present part of 2009’s publications. This issue contains several very interestingnewepigraphicfinds.Iwouldliketohighlightthenewfragmentsthathavebeen addedtothephilosophicalinscriptionofDiogenesofOinoanda( 65 ).Theymakepossible thereconstructionofalargepassage,inwhichtheEpicureanphilosopherrejectstheidea
    [Show full text]
  • 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.
    [Show full text]
  • How to Write History: Thucydides and Herodotus in the Ancient Rhetorical Tradition
    How to write history: Thucydides and Herodotus in the ancient rhetorical tradition A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Scott Kennedy, B.A., B.S. Graduate Program in Greek and Latin The Ohio State University 2018 Dissertation Committee: Anthony Kaldellis, Adviser Benjamin Acosta-Hughes Will Batstone Copyright by Scott Kennedy 2018 Abstract Modern students of Thucydides and Herodotus may find it odd to think of them as rhetoricians. Yet in the ancient world, both historians (and especially Thucydides) played an important role in rhetorical schools. They were among the favorite authors of ancient teachers of rhetoric and served as foundational pillars of the ancient curriculum, providing themes for school exercises and even for such seminal texts as Hermogenes' theoretical treatises on rhetoric. Modern scholars might never read technical rhetorical texts such as Hermogenes. They almost certainly would never turn to Hermogenes and his kind to help them understand Thucydides or Herodotus. But for our ancient intellectual predecessors, such an approach would have been unconscionable, as ancient rhetoric was the theoretical lens with which they understood and appreciated historical writings. In this dissertation, I explore the confluence of rhetoric and historiography in the ancient world through an examination of how Herodotus and Thucydides were used in ancient schools and then by later historians. Chapter 1 and 2 outline how these historians were embedded and encoded within the rhetorical curriculum. In Chapter 1, I examine how Herodotus and Thucydides entered the rhetorical curriculum and how rhetors incorporated them into the rhetorical curriculum through an examination of the surviving progymnasmata, scholia, and pedagogical myths.
    [Show full text]
  • A Poros Kouros from Isthmia
    A POROS KOUROS FROM ISTHMIA (PLATE 91) pT^HE fragmentarystatue which forms the subject of this note was found at Isthmia on October 24, 1959 by members of the University of Chicago digging at the site under the auspices of the American School of Classical Studies and the direction of Professor Oscar Broneer. The piece was found at a depth of 18.70 m. in the Large Circular Pit which lies to the west of the Palaimonion and south of the Temple precinct. This large shaft, probably an unfinished well, con- tained fill from the first half of the fifth century B.C. and earlier, including a few blocks and roof-tile fragments from the earliest Temple of Poseidon. The kouros has not yet been published and I am greatly indebted to Professor Broneer who has given me permission to describe and illustrate it here. The piece preserves the lower part of a male figure from below the waist to the, right knee. The left leg is broken at a much higher level across the thigh, probably at the point where the sculptor had begun to separate the two limbs. In addition, the entire front part of the statue is missing, having split clean with one of those flaking breaks typical of soft limestone, which appear almost like intentional cutting. Only the rear part of the kouros can therefore be studied for chronological and stylistic clues. Its dimensions make it slightly smaller than life size.' The material of the piece is a soft, whitish poros apparently free of impurities, which here takes an almost satiny finish.
    [Show full text]
  • 9781107028111 Index.Pdf
    Cambridge University Press 978-1-107-02811-1 - The Textualization of the Greek Alphabet Roger D. Woodard with a Chapter by David A. Scott Index More information Index Abaza, 324 Alexandria, 4 , 186 , 203 , 211 , 331 abeced ā rius , 221 alpha , 2 , 3 , 1 5 , 1 6 , 1 7 , 1 8 , 1 9 , 2 0 , 2 1 , 2 2 , 2 3 , 2 4 , Abou Simbel, 18 2 5 , 2 8 , 3 6 , 4 0 , 4 2 , 7 0 , 7 4 , 1 3 5 , 1 3 7 , 1 3 8 , 1 4 0 , Achaia, 29 , 73 , 250 , 303 144 , 163 , 166 , 171 , 224 , 235 , 247 , 250 , 251 , Achilles, 107 , 186 , 192 , 213 , 334 286 , 292 , 293 , 294 , 316 acrophonic principle, 157 , 160 alphabetic anomalies, 119 , 120 , 127 , 128 , 129 , a d a p t a t i o n , 5 1 , 6 3 , 6 4 , 6 5 , 6 6 , 1 4 6 , 1 5 1 , 1 5 2 , 1 5 3 , 1 3 1 , 1 3 3 , 1 3 5 , 1 3 7 , 1 7 8 , 2 6 2 , 3 3 9 156 , 157 , 158 , 159 , 160 , 163 , 168 , 173 , 254 , alphabetic fabric, 235 , 238 , 253 , 287 258 , 259 , 263 , 303 , 327 alphabetic weaving, 3 , 4 , 223 , 234 , 235 , 237 , A d m e t e , 1 9 8 238 , 243 , 244 , 245 , 247 , 249 , 252 , 253 , 256 , Aegina, 211 259 , 263 , 264 , 265 , 272 , 288 Aelian, 196 Althaea, 280 Aeneas Tacticus, 186 ambiguity, 59 , 65 , 66 , 96 , 147 , 149 , 150 , 186 , Aeschylus, 185 , 213 , 274 , 281 , 329 , 341 187 , 316 Aethlius, 202 Ammon, 214 , 215 , 216 agalma , 93 , 199 , 200 , 203 , 204 , 205 , 213 , 223 , Ammonites, 246 224 , 329 , 339 Amorgos, 28 , 29 , 33 , 39 , 80 , 85 , 102 , 207 , Agamemnon, 183 , 273 , 332 , 341 2 9 4 , 2 9 7 agnos , 195 , 196 , 197 , 202 , 219 , 220 Amphidromia, 186 agnus castus .
    [Show full text]
  • Pindar and the Poetics of Autonomy: Authorial Agency in Pindar’S Fourth Pythian Ode
    I PINDAR AND THE POETICS OF AUTONOMY: AUTHORIAL AGENCY IN PINDAR’S FOURTH PYTHIAN ODE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Dennis Robert Alley May 2019 II ©2019 Dennis Robert Alley III PINDAR AND THE POETICS OF AUTONOMY: AUTHORIAL AGENCY IN PINDAR’S FOURTH PYTHIAN ODE Dennis Robert Alley Cornell University 2019 Over the last decade a growing number of scholars have questioned the veracity of the longstanding commission-fee model which placed the Greek lyric poet Pindar in the thrall of various aristocratic patrons to secure his pay. This seismic shift in our view on Pindar’s composition reveals manifold new questions to explore in its wake. What happens to our understanding of the 45 extant odes and extensive fragments, when, for example, angling for commission no longer mandates procrustean generic strictures? How do we understand praise poetry if not as exclusively solicited and sold? Where do we even begin examining the odes under this new model? Pindar and the Poetics of Autonomy suggests one ode in particular has suffered from the rigidity of scholarly expectations on commission and genre. In the corpus of Pindaric epinicia, Pythian Four, written around 462 for Arcesilaus the fourth of Cyrene, is conspicuously anomalous. At 299 exceptionally long lines, the poem is over twice as long as the next longest ode. While most epinicia devote considerable space in their opening and closing sections to celebrating the present victory, Pythian Four makes only one clear mention of it.
    [Show full text]
  • Religion and the Polis the Cult of the Tyrannicides at Athens
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 25 | 2012 Varia Religion and the Polis The Cult of the Tyrannicides at Athens Julia L. Shear Electronic version URL: http://journals.openedition.org/kernos/2102 DOI: 10.4000/kernos.2102 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 26 October 2012 Number of pages: 27-55 ISSN: 0776-3824 Electronic reference Julia L. Shear, « Religion and the Polis », Kernos [Online], 25 | 2012, Online since 20 November 2014, connection on 15 October 2019. URL : http://journals.openedition.org/kernos/2102 ; DOI : 10.4000/ kernos.2102 Kernos Kernos 25(2012),p.27-55. Religion and the Polis : The Cult of the Tyrannicides at Athens * Abstract: As formulated by Christiane Sourvinou-Inwood, polis religion is intimately linked to the formation of religious, civic, and cultural identities and it focuses on the dominantgroup,ratherthantheindividual.Inthisessay,Iaskwhetherthisreligioussystem leftspaceforviewswhichwerenotthatofthedominantgroupandtowhatextentitcould accommodatemultiplicity.FocusingonthecultoftheTyrannicidesatAthens,Iarguethat thiscultprovidedaspecificversionoftheoverthrowofthetyrantandtheestablishmentof democracy which served the needs of the city. It did not prevent other versions from circulating,butthesealternativetraditionscouldnotcompeteindefinitelywiththecity’sand sotheydiedout.Thus polis religioncanincludemultiplevoices,butgroupspromulgating thesedifferentviewswillneedconstantlytocounteracttheinfluencesofthecity’sdominant
    [Show full text]
  • A Poros Kouros from Isthmia 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 1975 A Poros Kouros from Isthmia 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. 1975. A Poros Kouros from Isthmia. Hesperia 44:426-430. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/69 For more information, please contact [email protected]. A POROS KOUROS FROM ISTHMIA (PLATE 91) T HE fragmentarystatue which forms the subject of this note was found at Isthmia on October 24, 1959 by members of the University of Chicago digging at the site under the auspices of the American School of Classical Studies and the direction of Professor Oscar Broneer. The piece was found at a depth of 18.70 m. in the Large Circular Pit which lies to the west of the Palaimonion and south of the Temple precinct. This large shaft, probably an unfinished well, con- tained fill from the first half of the fifth century B.C. and earlier, including a few blocks and roof-tile fragments from the earliest Temple of Poseidon. The kouros has not yet been published and I am greatly indebted to Professor Broneer who has given me permission to describe and illustrate it here.
    [Show full text]