Ancient Greece: the Nereid Tomb
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Holocene Environmental Changes Disclosed from Anoxic Fjord Sediments by Biomarkers and Their Radiocarbon Content
GEOLOGICA ULTRAIECTINA Mededelingen van de Faculteit Geowetenschappen Universiteit Utrecht No. 227 Holocene environmental changes disclosed from anoxic fjord sediments by biomarkers and their radiocarbon content Rienk H. Smittenberg Holocene environmental changes disclosed from anoxic fjord sediments by biomarkers and their radiocarbon content Holocene milieuveranderingen gereconstrueerd uit anoxische fjord sedimenten middels biomarkers en hun radio-aktief koolstof gehalte (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de Rector Magnificus, Prof. Dr. W.H. Gispen, ingevolge het besluit van het College voor Promoties in het openbaar te verdedigen op maandag 15 september 2003 des middags te 4.15 uur door Rienk Hajo Smittenberg geboren op 23 maart 1973 te Eck en Wiel Promotor: Prof. Dr. J.W. de Leeuw Department of Geochemistry Utrecht University Utrecht, The Netherlands Copromotores: Dr. Ir. J.S. Sinninghe Damsté Department of Geochemistry Utrecht University Utrecht, The Netherlands Dr. S. Schouten Department of Marine Biogeochemistry and Toxicology Royal Netherlands Institute of Sea Research Texel, The Netherlands The research described in this thesis was carried out at the Department of Biogeochemistry and Toxicology of the Royal Netherlands Institute of Sea Research, P.O. Box 59, 1790 AB Den Burg, The Netherlands. The investigations were supported by the Research Council for Earth and Life Science (ALW) with the financial support from the Netherlands -
Sea Monsters in Antiquity: a Classical and Zoological Investigation
Sea Monsters in Antiquity: A Classical and Zoological Investigation Alexander L. Jaffe Harvard University Dept. of Organismic and Evolutionary Biology Class of 2015 Abstract: Sea monsters inspired both fascination and fear in the minds of the ancients. In this paper, I aim to examine several traditional monsters of antiquity with a multi-faceted approach that couples classical background with modern day zoological knowledge. Looking at the examples of the ketos and the sea serpent in Roman and Greek societies, I evaluate the scientific bases for representations of these monsters across of variety of media, from poetry to ceramics. Through the juxtaposition of the classical material and modern science, I seek to gain a greater understanding of the ancient conception of sea monsters and explain the way in which they were rationalized and depicted by ancient cultures. A closer look at extant literature, historical accounts, and artwork also helps to reveal a human sentiment towards the ocean and its denizens penetrating through time even into the modern day. “The Sea-monsters, mighty of limb and huge, the wonders of the sea, heavy with strength invincible, a terror for the eyes to behold and ever armed with deadly rage—many of these there be that roam the spacious seas...”1 Oppian, Halieutica 1 As the Greek poet Oppian so eloquently reveals, sea monsters inspired both fascination and fear in the minds of the ancients. From the Old Testament to Ovid, sources from throughout the ancient world show authors exercising both imagination and observation in the description of these creatures. Mythology as well played a large role in the creation of these beliefs, with such classic examples as Perseus and Andromeda or Herakles and Hesione. -
Greek Culture
HUMANITIES INSTITUTE GREEK CULTURE Course Description Greek Culture explores the culture of ancient Greece, with an emphasis on art, economics, political science, social customs, community organization, religion, and philosophy. About the Professor This course was developed by Frederick Will, Ph.D., professor emeritus from the University of Iowa. © 2015 by Humanities Institute Course Contents Week 1 Introduction TEMPLES AND THEIR ART Week 2 The Greek Temple Week 3 Greek Sculpture Week 4 Greek Pottery THE GREEK STATE Week 5 The Polis Week 6 Participation in the Polis Week 7 Economy and Society in the Polis PRIVATE LIFE Week 8 At the Dinner Table Week 9 Sex and Marriage Week 10 Clothing CAREERS AND TRAINING Week 11 Farmers and Athletes Week 12 Paideia RELIGION Week 13 The Olympian Gods Week 14 Worship of the Gods Week 15 Religious Scepticism and Criticism OVERVIEW OF GREEK CULTURE Week 16 Overview of Greek Culture Selected collateral readings Week 1 Introduction Greek culture. There is Greek literature, which is the fine art of Greek culture in language. There is Greek history, which is the study of the development of the Greek political and social world through time. Squeezed in between them, marked by each of its neighbors, is Greek culture, an expression, and little more, to indicate ‘the way a people lived,’ their life- style. As you will see, in the following syllabus, the ‘manner of life’ can indeed include the ‘products of the finer arts’—literature, philosophy, by which a people orients itself in its larger meanings—and the ‘manner of life’ can also be understood in terms of the chronological history of a people; but on the whole, and for our purposes here, ‘manner of life’ will tend to mean the way a people builds a society, arranges its eating and drinking habits, builds its places of worship, dispenses its value and ownership codes in terms of an economy, and arranges the ceremonies of marriage burial and social initiation. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
The Trouble with Bulls: the Cacce Dei Tori in Early4modern Venice
The Trouble with Bulls: The Cacce dei Tori in Early-Modern Venice ROBERT C. DAVIS* The city of Venice has been historiographically identified with festival. Venetians staged regular symbolic enactments of the city’s piety, beauty, unity, military valour, connection with the sea, and sense of justice, usually exploiting Venice’s public squares, boats, bridges, and canals to give these occasions a unique character. One festival, however, the cacce dei tori or baiting of bulls, celebrated none of these virtues and had nothing to do with the sea. Usually found in cities with strong feudal and economic ties to the countryside, such events would seem out of place in a city with no such ties and an impractical environment for large animals. The roots of the cacce dei tori, however, lay more in Venice’s intense neighbourhood and factional rivalries than in urban-rural tensions. Sur le plan historiographique, on identifie la ville de Venise aux festivals. Les Vénitiens faisaient régulièrement des mises en scène symboliques de la piété, de la beauté, de l’unité, de la vaillance militaire, du lieu avec la mer et du sens de la justice de la ville, exploitant habituellement les places publiques, les bateaux, les ponts et les canaux de Venise pour conférer un cachet unique à ces occasions. Un festival, toutefois, le cacce dei tori, ou l’appâtage des taureaux, ne célébrait aucune de ces vertus et n’avait rien à voir avec la mer. De tels événements, qui se dérou- laient normalement dans des villes ayant de solides liens féodaux et économiques avec la campagne, paraîtraient incongrus dans une ville ne présentant aucuns liens de la sorte et offrant un milieu inhospitalier pour des animaux de grande taille. -
Greek Mythology and Genesis
Greek Mythology and Genesis Agenda • Overview of Early Genesis • World Cultures and Early Genesis • Greek Art/Greek Mythology – Noah/Nereus in Greek Art – Herakles/Nimrod – Zeus/Adam – Athena/Naamah • East Pediment of Parthenon – Understanding – Characters 2 Genesis (1-10) • Days of Creation (resting on the 7th) • The Creation of Adam and Eve • The Fall of Man • Cain and Abel – Cain’s descendants • Descendants of Adam • The Corruption of Mankind • The Flood • The Flood Subsides • Covenant of the Rainbow • Descendants of Noah – Shem – Japheth – Ham -Cush -Nimrod 3 Genesis in Cultures from Around the World Sagaiye Ottawa Lake of Llion Shang Ti Choctaw Gilgamesh Santal Tanzania Inca (Peru) Bunjil 4 ADAM AND EVE (ZEUS AND HERA) KAIN SETH (ARES) (HEPHAISTOS) Noah (Nereus) 5 ZEUS HERA Noah to Nimrod Shem Japheth 6 7 Did the Greeks Know Who Noah Was? 8 9 10 11 Noah’s Flood 12 13 HERAKLES’ REBELLION AGAINST NOAH 14 On this vase-painting, Herakles threatens Noah with his club. 15 Here, Herakles pushes Noah aside. And here, the vase-artist depicts Herakles bringing Noah and his rule to a halt. 16 17 18 Herakles’ first 11 labors and his other battles all had one objective—embodied in his 12th and final labor—getting back to the serpent-entwined tree in the ancient garden for another bite of 19 the serpent’s apple. Athena Nereus Kentaur Herakles 20 And Athena rewarded the great hero after he had pushed Noah and his God out of the picture and reestablished the way of Kain. 21 12 Labors of Herakles Temple of Zeus 22 Herakles Herakles Athena Geryon Atlas 23 Zeus/Adam at Olympia 24 Parthenon 26 27 • Displays the Greek ―story‖ of Genesis • Man’s ―triumph‖ over God • Reflection of Eden • Triumph of the Serpent • Deifies real people of history 28 29 30 31 Chrysothemis Lipara Hygeia Asterope The Greek poets and playwrights traced Zeus and Hera back to an ancient paradise they called the Garden of the Hesperides. -
Oceans - Geography - Oxford Bibliographies
Oceans - Geography - Oxford Bibliographies http://www.oxfordbibliographies.com/view/document/obo-9780199... Oceans Philip E. Steinberg Introduction Until the beginning of the 21st century there were few studies of the ocean, or the world’s seas, in geography. Although cultural and political ecologists who studied coastal communities considered the watery spaces in which people worked, economic and transportation geographers considered the shipping routes that people (and commodities) crossed, and political and military geographers considered the ocean surfaces across which people fought, the ocean itself was generally conceived as a space beyond the boundaries of society, a space used by society, not of society. Physical geographers, meanwhile, while developing a robust literature in coastal geomorphology, tended to leave study of the deep sea to oceanographers. In recent years, physical geographers have made significant contributions to interdisciplinary oceanographic research, primarily through the application of remote sensing and GIS expertise and through climatological research on ocean-atmosphere interactions, but the explosion of ocean-related research in geography since the 1990s has primarily been in human and environmental geography. Much of the increase in human geographic studies of the ocean is due to influences from outside the discipline, including the turn in history to studying ocean basin–defined regions, the turn in cultural studies toward understanding the ocean as a space of cultural hybridity, and, more broadly, a growing environmental awareness of the ocean as a space that is exceptionally vulnerable to (and an indicator of) environmental transformation. Furthermore, as human geographers have turned their attention to such concepts as affect, mobility, nonterrestrial materialities, nonhuman agency, heterotopic spaces of resistance, and global spaces of exchange, the ocean has been embraced as an ideal space for thinking with, and thinking through the limits of, these emergent epistemologies. -
Apollo's Gallic Muses?
Apollo’s Gallic Muses? In book three of the Chorographia (3.48), Pomponius Mela describes an oracular cult overseen by nine maritime priestesses (the Gallizenae: the Gauls of Sena). The nine women serve a Gallic divinity off the Ossismican coasts at the island of Sena (Sein, Pointe du Raz, Finistère, off the coast of Brittany), a known hazard for mariners owing to the currents for which the area is notorious (raz is Brettanic for “sea-current”) together with reefs that extend thirty or so miles westward from the island into the Chaussée de Sein. Remarkable for their virginity and purity, the priestesses are able to rouse the seas and winds with their chants, and they can transmogrify into “whatever animals they wish.” In addition, they allegedly can heal “whatever is incurable among other peoples.” Furthermore, the unnamed Gallic deity, to whom the Gallizenae are devoted, oversees a pilgrim cult to which sailors and others come in order to consult the priestesses. The Gallizenae subsequently share their proprietary knowledge only with pilgrims who make the dangerous journey by sea to their abode. Mela’s maritime priestesses are otherwise unattested (Silberman 1988: ad loc.). Attempts to link the Gallizenae with Druidism, however, have been posited but uniformly lack documentation and are unconvincing (e.g. MacKillop 2004: s.v. Gallizenae). Their number and chastity, nonetheless, evoke the tradition of Apollo, the poetic god closely associated with the nine muses, minor deities of poetic inspiration, who accompany him at Mt. Helicon. Like the god of Sena, Apollo was an oracular deity who spoke through undefiled women (e.g., the Pythia at Delphi, the Cumaean Sibyl, and Cassandra). -
Full Text in Pdf Format
MARINE. ECOLOGY PROGRESS SERIES Vol. 188: 123-132,1999 Published November 3 Mar Ecol Prog Ser Tolerance of the barnacle Balanus amphitrite amphitrite to salinity and temperature stress: effects of previous experience Jian-Wen Qiu, Pei-Yuan Qian* Department of Biology. The Hong Kong University of Science and Technology, Clear Water Bay, Kowloon, Hong Kong ABSTRACT: We conducted 4 experiments to study the effects of salinity and temperature on the bar- nacle Balanus amphtrite amphitrite Darwin, with particular focus on the effects of stress experienced in one life-stage on the performance of the next Life-stage. At 1S0C,typical winter water temperature in Hong Kong, larvae exlubited low survivorship, adults molted infrequently, and only a low percentage of in&viduals had developing ovaries and embryos However, at 30°C, typical summertime tempera- ture in Hong Kong, larvae developed rapidly, survivorshp was hgh, adults molted frequently, and a high percentage of individuals had developing ovanes and embryos. These results suggest that low winter temperature may be a limiting factor responsible for cessation of recruitment, whereas high summer temperature is unlikely to be the cause for the dechne in recruitment. Salinity produced sig- nificant detrimental effects on both survival and development at 510%. In the 15 to 35% S range, how- ever, none of the stages tested exhibited signs of stress. Salinity is a limiting factor for the survival and development of B. a. amphrh.te in Hong Kong only during mid-summer when salinity in the surface water can drop to below look.Exposing embryos to different salinities produced differential effects on larvae. -
The Polychromy of Greek and Roman Art; an Investigation of Museum Practices
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2012 The Polychromy of Greek and Roman Art; An Investigation of Museum Practices Meghan Combs CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/148 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Polychromy of Greek and Roman Art: An Investigation of Museum Practices Meghan K. Combs Advisors: Harriet Senie, Linda Kastan December 10, 2012 Submitted in partial fulfillment of the requirements for the degree of Master of Arts of the City College of the City University of New York Table of Contents Introduction 1 Chapter 1: The History of Greek and Roman Polychromy and Its Reception 3 The Greeks 3 The Romans 12 The Renaissance 17 Nineteenth Century 20 Twentieth Century 24 Summary 25 Chapter 2: Modern Scholarship on Greek and Roman Polychromy 27 Gisela Richter: Early Greek Polychromy 27 David Batchelor: "Chromophobia" 30 Vinzez Brinkmann: Color Detecting Techniques 32 Mark B. Abbe: Roman Polychromy 34 Summary 36 Chapter 3: Museum Practices and Exhibitions 37 The Metropolitan Museum of Art 37 The Museum of Fine Arts, Boston 42 Exhibition: Gods in Color: Painted Sculpture of Classical Antiquity 46 The J. Paul Getty Museum 49 Summary 51 Chapter 4: Exhibition of the MMA's Permanent Collection 52 The Exhibition 52 Conclusion 57 Images 59 Introduction The fact that Greek and Roman sculpture was once brightly painted was the subject of an ongoing debate among art historians since the early nineteenth century. -
The Case of the Parthenon Sculptures
University of North Florida UNF Digital Commons All Volumes (2001-2008) The sprO ey Journal of Ideas and Inquiry 2007 Looted Art: The aC se of the Parthenon Sculptures Alison Lindsey Moore University of North Florida Follow this and additional works at: http://digitalcommons.unf.edu/ojii_volumes Part of the Arts and Humanities Commons Suggested Citation Moore, Alison Lindsey, "Looted Art: The asC e of the Parthenon Sculptures" (2007). All Volumes (2001-2008). 34. http://digitalcommons.unf.edu/ojii_volumes/34 This Article is brought to you for free and open access by the The sprO ey Journal of Ideas and Inquiry at UNF Digital Commons. It has been accepted for inclusion in All Volumes (2001-2008) by an authorized administrator of UNF Digital Commons. For more information, please contact Digital Projects. © 2007 All Rights Reserved LOOTED ART: Art returning to Italy a number of smuggled artifacts, including the famous THE CASE OF THE PARTHENON calyx-krater by Euphronios. The J. Paul SCULPTURES Getty Museum in California also recently attracted attention as Marion True, the Alison Lindsey Moore museum’s former curator of antiquities, was accused of knowingly purchasing Faculty Sponsor: Dr. Candice Carter, looted artifacts. Rather than focusing on a Associate Professor of Curriculum and recent case, I concentrate on the Instruction (Elementary Education) controversy surrounding the so-called “Elgin Marbles.” This research project was intended Many artifacts which comprise private to contextualize both the historical and and museum collections today were possibly current controversial issues pertaining to stolen from their country of origin and illegally the Parthenon. The first section titled “The smuggled into the country in which they now Architectural and Decorative Elements of reside. -
Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS
Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS Apples appear throughout numerous world religions and mythologies as a common symbol and motif. It is important to note though that in Middle English as late as the 17th century, the word ‘apple’ was used as a generic term to describe all fruit other than berries, so the appearance of apples in ancient writings may not actually be the apples known today. The etymology of 'apple' is an interesting one. That aside, Greek mythology presents several notable apples: the Golden Apples in the Garden of Hesperides, different golden apples associated with Atalanta, and of course the golden Apple of Discord. Each appearance of apples presents unique examples of symbolism. The Golden Apples in the Garden of Hesperides were a wedding gift to Hera from Gaia and were protected by a great serpent called Ladon. The Apples as well as the rest of the life in the Garden were tended by the Hesperides, minor earth goddesses or nymphs and daughters of the Titan, Atlas. The Garden itself rested in an inaccessible spot near the edge of the world under the power of the Olympians. For his Eleventh Labor, Hercules was sent to the Garden to retrieve three Golden Apples for King Eurystheus. The exact location of the Garden and the Apples was unknown and Hercules had to pry the information from Nereus, the Old Man of the Sea. Along the way, he also encountered and freed Prometheus who told not to try pick the Golden Apples himself, but to ask Atlas.