Defining the Identity of the Greeks Against the Persian Imperial ‘Other’
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Chapter 4, Section 1
Hellenistic Civilization 324 - 100 BC Philip II of Macedonia . The Macedonians were viewed as barbarians. By the 5th century BC, the Macedonians had emerged as a powerful kingdom in the north. In 359 BC, Philip II became king, and he turned Macedonia into the chief power in the Greek world. Philip II Philip II of Macedonia . The Macedonians were viewed as barbarians. By the 5th century BC, the Macedonians had emerged as a powerful kingdom in the north. In 359 BC, Philip II became king, and he turned Macedonia into the chief power in the Greek world. Philip was a great admirer of Greek culture, and he wanted to unite all of Greece under Macedonian rule. Fearing Philip, Athens allied with a number of other Greek city-states to fight the Macedonians. In 338, the Macedonians crushed the Greeks. After quickly gaining control over most of the Greek city-states, Philip turned to Sparta. He sent them a message, "You are advised to submit without further delay, for if I bring my army into your land, I will destroy your farms, slay your people, and raze your city." . Their reply was “if", both Philip and his son, Alexander, would leave the Spartans alone. By 336 BC, Philip was preparing to invade the Persian Empire when he was assassinated. The murder occurred during the celebration of his daughter’s marriage, while the king was entering the theater, he was killed by the captain his bodyguards. Alexander the Great . Alexander III was born in 356 BC. When Alexander was 13, his father Philip chose Aristotle as his tutor, and in return for teaching Alexander, Philip agreed to rebuild Aristotle's hometown which Philip had razed. -
The Athenian Agora
Excavations of the Athenian Agora Picture Book No. 12 Prepared by Dorothy Burr Thompson Produced by The Stinehour Press, Lunenburg, Vermont American School of Classical Studies at Athens, 1993 ISBN 87661-635-x EXCAVATIONS OF THE ATHENIAN AGORA PICTURE BOOKS I. Pots and Pans of Classical Athens (1959) 2. The Stoa ofAttalos II in Athens (revised 1992) 3. Miniature Sculpturefrom the Athenian Agora (1959) 4. The Athenian Citizen (revised 1987) 5. Ancient Portraitsfrom the Athenian Agora (1963) 6. Amphoras and the Ancient Wine Trade (revised 1979) 7. The Middle Ages in the Athenian Agora (1961) 8. Garden Lore of Ancient Athens (1963) 9. Lampsfrom the Athenian Agora (1964) 10. Inscriptionsfrom the Athenian Agora (1966) I I. Waterworks in the Athenian Agora (1968) 12. An Ancient Shopping Center: The Athenian Agora (revised 1993) I 3. Early Burialsfrom the Agora Cemeteries (I 973) 14. Graffiti in the Athenian Agora (revised 1988) I 5. Greek and Roman Coins in the Athenian Agora (1975) 16. The Athenian Agora: A Short Guide (revised 1986) French, German, and Greek editions 17. Socrates in the Agora (1978) 18. Mediaeval and Modern Coins in the Athenian Agora (1978) 19. Gods and Heroes in the Athenian Agora (1980) 20. Bronzeworkers in the Athenian Agora (1982) 21. Ancient Athenian Building Methods (1984) 22. Birds ofthe Athenian Agora (1985) These booklets are obtainable from the American School of Classical Studies at Athens c/o Institute for Advanced Study, Princeton, N.J. 08540, U.S.A They are also available in the Agora Museum, Stoa of Attalos, Athens Cover: Slaves carrying a Spitted Cake from Market. -
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THE CONCEPT OF SACRED WAR IN ANCIENT GREECE By FRANCES ANNE SKOCZYLAS B.A., McGill University, 1985 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Classics) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1987 ® Frances Anne Skoczylas, 1987 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of CLASSICS The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date AUtt-UST 5r 1Q87 ii ABSTRACT This thesis will trace the origin and development of the term "Sacred War" in the corpus of extant Greek literature. This term has been commonly applied by modern scholars to four wars which took place in ancient Greece between- the sixth and fourth centuries B. C. The modern use of "the attribute "Sacred War" to refer to these four wars in particular raises two questions. First, did the ancient historians give all four of these wars the title "Sacred War?" And second, what justified the use of this title only for certain conflicts? In order to resolve the first of these questions, it is necessary to examine in what terms the ancient historians referred to these wars. -
Ancient Greek Coins
Ancient Greek Coins Notes for teachers • Dolphin shaped coins. Late 6th to 5th century BC. These coins were minted in Olbia on the Black Sea coast of Ukraine. From the 8th century BC Greek cities began establishing colonies around the coast of the Black Sea. The mixture of Greek and native currencies resulted in a curious variety of monetary forms including these bronze dolphin shaped items of currency. • Silver stater. Aegina c 485 – 480 BC This coin shows a turtle symbolising the naval strength of Aegina and a punch mark In Athens a stater was valued at a tetradrachm (4 drachms) • Silver staterAspendus c 380 BC This shows wrestlers on one side and part of a horse and star on the other. The inscription gives the name of a city in Pamphylian. • Small silver half drachm. Heracles wearing a lionskin is shown on the obverse and Zeus seated, holding eagle and sceptre on the reverse. • Silver tetradrachm. Athens 450 – 400 BC. This coin design was very poular and shows the goddess Athena in a helmet and has her sacred bird the Owl and an olive sprig on the reverse. Coin values The Greeks didn’t write a value on their coins. Value was determined by the material the coins were made of and by weight. A gold coin was worth more than a silver coin which was worth more than a bronze one. A heavy coin would buy more than a light one. 12 chalkoi = 1 Obol 6 obols = 1 drachm 100 drachma = 1 mina 60 minas = 1 talent An unskilled worker, like someone who unloaded boats or dug ditches in Athens, would be paid about two obols a day. -
Marathon 2,500 Years Edited by Christopher Carey & Michael Edwards
MARATHON 2,500 YEARS EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON MARATHON – 2,500 YEARS BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES SUPPLEMENT 124 DIRECTOR & GENERAL EDITOR: JOHN NORTH DIRECTOR OF PUBLICATIONS: RICHARD SIMPSON MARATHON – 2,500 YEARS PROCEEDINGS OF THE MARATHON CONFERENCE 2010 EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON 2013 The cover image shows Persian warriors at Ishtar Gate, from before the fourth century BC. Pergamon Museum/Vorderasiatisches Museum, Berlin. Photo Mohammed Shamma (2003). Used under CC‐BY terms. All rights reserved. This PDF edition published in 2019 First published in print in 2013 This book is published under a Creative Commons Attribution-NonCommercial- NoDerivatives (CC-BY-NC-ND 4.0) license. More information regarding CC licenses is available at http://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN: 978-1-905670-81-9 (2019 PDF edition) DOI: 10.14296/1019.9781905670819 ISBN: 978-1-905670-52-9 (2013 paperback edition) ©2013 Institute of Classical Studies, University of London The right of contributors to be identified as the authors of the work published here has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Designed and typeset at the Institute of Classical Studies TABLE OF CONTENTS Introductory note 1 P. J. Rhodes The battle of Marathon and modern scholarship 3 Christopher Pelling Herodotus’ Marathon 23 Peter Krentz Marathon and the development of the exclusive hoplite phalanx 35 Andrej Petrovic The battle of Marathon in pre-Herodotean sources: on Marathon verse-inscriptions (IG I3 503/504; Seg Lvi 430) 45 V. -
Agorapicbk-17.Pdf
Excavations of the Athenian Agora Picture Book No. 17 Prepared by Mabel L. Lang Dedicated to Eugene Vanderpool o American School of Classical Studies at Athens ISBN 87661-617-1 Produced by the Meriden Gravure Company Meriden, Connecticut COVER: Bone figure of Socrates TITLE PAGE: Hemlock SOCRATES IN THE AGORA AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS PRINCETON, NEW JERSEY 1978 ‘Everything combines to make our knowledge of Socrates himself a subject of Socratic irony. The only thing we know definitely about him is that we know nothing.’ -L. Brunschvicg As FAR AS we know Socrates himselfwrote nothing, yet not only were his life and words given dramatic attention in his own time in the Clouds of Ar- istophanes, but they have also become the subject of many others’ writing in the centuries since his death. Fourth-century B.C. writers who had first-hand knowledge of him composed either dialogues in which he was the dominant figure (Plato and Aeschines) or memories of his teaching and activities (Xe- nophon). Later authors down even to the present day have written numerous biographies based on these early sources and considering this most protean of philosophers from every possible point of view except perhaps the topograph- ical one which is attempted here. Instead of putting Socrates in the context of 5th-century B.C. philosophy, politics, ethics or rhetoric, we shall look to find him in the material world and physical surroundings of his favorite stamping- grounds, the Athenian Agora. Just as ‘agora’ in its original sense meant ‘gathering place’ but came in time to mean ‘market place’, so the agora itself was originally a gathering place I. -
Homer's Iliad Via the Movie Troy (2004)
23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad. -
Parthenon 1 Parthenon
Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury. -
HCS — History of Classical Scholarship
ISSN: 2632-4091 History of Classical Scholarship www.hcsjournal.org ISSUE 1 (2019) Dedication page for the Historiae by Herodotus, printed at Venice, 1494 The publication of this journal has been co-funded by the Department of Humanities of Ca’ Foscari University of Venice and the School of History, Classics and Archaeology of Newcastle University Editors Lorenzo CALVELLI Federico SANTANGELO (Venezia) (Newcastle) Editorial Board Luciano CANFORA Marc MAYER (Bari) (Barcelona) Jo-Marie CLAASSEN Laura MECELLA (Stellenbosch) (Milano) Massimiliano DI FAZIO Leandro POLVERINI (Pavia) (Roma) Patricia FORTINI BROWN Stefan REBENICH (Princeton) (Bern) Helena GIMENO PASCUAL Ronald RIDLEY (Alcalá de Henares) (Melbourne) Anthony GRAFTON Michael SQUIRE (Princeton) (London) Judith P. HALLETT William STENHOUSE (College Park, Maryland) (New York) Katherine HARLOE Christopher STRAY (Reading) (Swansea) Jill KRAYE Daniela SUMMA (London) (Berlin) Arnaldo MARCONE Ginette VAGENHEIM (Roma) (Rouen) Copy-editing & Design Thilo RISING (Newcastle) History of Classical Scholarship Issue () TABLE OF CONTENTS LORENZO CALVELLI, FEDERICO SANTANGELO A New Journal: Contents, Methods, Perspectives i–iv GERARD GONZÁLEZ GERMAIN Conrad Peutinger, Reader of Inscriptions: A Note on the Rediscovery of His Copy of the Epigrammata Antiquae Urbis (Rome, ) – GINETTE VAGENHEIM L’épitaphe comme exemplum virtutis dans les macrobies des Antichi eroi et huomini illustri de Pirro Ligorio ( c.–) – MASSIMILIANO DI FAZIO Gli Etruschi nella cultura popolare italiana del XIX secolo. Le indagini di Charles G. Leland – JUDITH P. HALLETT The Legacy of the Drunken Duchess: Grace Harriet Macurdy, Barbara McManus and Classics at Vassar College, – – LUCIANO CANFORA La lettera di Catilina: Norden, Marchesi, Syme – CHRISTOPHER STRAY The Glory and the Grandeur: John Clarke Stobart and the Defence of High Culture in a Democratic Age – ILSE HILBOLD Jules Marouzeau and L’Année philologique: The Genesis of a Reform in Classical Bibliography – BEN CARTLIDGE E.R. -
2014.Axx Barbantani, Mother of Snakes and Kings
Histos () – MOTHER OF SNAKES AND KINGS: APOLLONIUS RHODIUS’ FOUNDATION OF ALEXANDRIA* Abstract: Of all the lost Foundation Poems attributed to Apollonius Rhodius, active at the court of Ptolemy II, the Ktisis of Alexandria must have been the most important for his contemporaries, and surely is the most intriguing for modern scholars of the Hellenistic world. Unfortunately, only a brief mention of this epyllion survives, in a scholion to Nicander’s Theriaka , relating to the birth of poisonous snakes from the severed head of Medusa, carried by Perseus over Libya . Deadly and benign serpents belong to a multi- cultural symbolic imagery intertwined with the Greek, Macedonian, Egyptian and Jewish origins of the city. This paper explores the possible connections of the only episode preserved from Apollonius’ Ktisis with the most ancient known traditions on the foundation of Alexandria —possibly even created at the time of Alexander or of the first Lagid dynasts, Ptolemy I and II. And I wished he would come back, my snake. For he seemed to me again like a king, Like a king in exile, uncrowned in the underworld, Now due to be crowned again. D. H. Lawrence , Snake (Taormina, ) Introduction pollonius of Rhodes is credited with a certain number of Foundation poems in hexameters, namely on Alexandria, Naucratis, Caunus, ACnidus, Rhodes and, possibly, Lesbos. The epic poem Argonautica is Apollonius’ only work which has survived through direct tradition, and the only one mentioned in the biographical sources, while his Κτίσεις are only known through short quotations and summaries by different ancient authors * The research on Apollonius’ Κτίσεις began in , when I was asked to edit the fragments for FGrHist IV, ed. -
Imitating Βάρβαροι:: the Appropriation of Persian Culture in Greece After the Persian Wars
Imitating βάρβαροι:: The Appropriation of Persian Culture in Greece after the Persian Wars During the Orientalizing Period of the eighth and seventh centuries BCE, the Aegean world was heavily influenced by the cultures of the Ancient Near East. The Greeks were accepting of Persian symbols and decorations and were quick to adapt these objects into their own art and culture. This period proved that Greek artists and craftsmen themselves were capable of producing eastern motifs on their own works. However, I hope to show that after the Greek victory in the Persian Wars, eastern influences increased and became more prominent in mainland Greek art and architecture and that it became more acceptable for the Greeks to own possessions with eastern motifs. After the wars, the Greeks were accepting and even jealous of Persian fashions (Bridges et al. 2007, 37) and the influence of Persian “material goods aided the process of social stratification…and contributed to status expression in the subsequent Hellenistic world” (Miller 2003, 319). To take this further, I aim to look at Persian culture being appropriated by the Greeks for their own uses during the emergence of the new democracy, to show that while these images, symbols, and fashions were not Greek in origin, they were so commonly used and adapted by the Greeks that they then became symbols of their ‘Greekness.’ This paper will look primarily at material culture, but will also examine mentions of Persian objects and ideas in Greek literature, such as Aeschylus’ Persians and Herodotus’ Histories. I will start by examining the adaptation of Persian symbols in Greek society, considering the acceptance of Persian clothing, with examples of Persian dress seen on vases and grave stelai and mentions of Persian slippers in dramas such as Aristophanes’ Lysistrata, and the introduction and use of Persian parasols, seen in Aristophanes’ Birds and by Eros holding a parasol of Aphrodite on the Parthenon frieze. -
Aristotle Professor Edith Hall 4 March 2021 Introduction Aristotle Is
Aristotle Professor Edith Hall 4 March 2021 Introduction Aristotle is arguably the most influential intellectual who ever lived. I say ‘intellectual’ rather than ‘philosopher’ because he contributed to so many disciplines other than philosophy, including what we call sciences such as Physics and Zoology and art-related endeavours such as literary criticism. But despite the sheer range of his investigations, there is a coherent method and system underlying all of them, with its own terminology, much of which he created almost from scratch. In a Gresham lecture two years ago, I described Aristotle’s life, his twenty years spent studying at Plato’s Academy, his travels in Turkey and Lesbos, his tutoring of the teenaged Alexander before he became The Great, and his university at Athens, the Lyceum.1 This was the first institution to combine teaching at a range of levels from public lectures to cutting-edge specialised research across the disciplinary spectrum. It also housed his personal library, which later became the model behind the Ptolemaic Library of Alexandria. Aristotle founded the Lyceum when he was nearly 50. He died not much more than a decade later, after being driven out of Athens by politicians suspicious of his association with Kings Philip II and Alexander III of Macedon. But in that last part of his life, he produced, scholars think, the majority of the 200 or more treatises attributed to him. Around 30 authentic works have survived to be read today. In his Metaphysics, Aristotle asks why humans invented philosophy. ‘Human beings now and when they began to do philosophy do so because of their sense of wonder.