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Journal articles on the topic 'Greek poetry; Ancient Greece; Rome'
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1
Lykesas, Georgios, Christina Papaioannou, Aspasia Dania, Maria Koutsouba, and Evgenia Nikolaki. "Τhe Presence of Dance in Female Deities of the Greek Antiquity." Mediterranean Journal of Social Sciences 8, no. 2 (March 28, 2017): 161–70. http://dx.doi.org/10.5901/mjss.2017.v8n2p161.
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Abstract According to philosophers and paedagogists, from antiquity until today, arts and dance in particular have played a determining role in shaping the human personality, as well as in helping people gain a positive perspective of their multi-aspect development in terms of knowledge, perception, creative ability, psychomotor actions, emotional and social elevation. This holistic and anthropocentric approach in antiquity set new ways for perceiving motion -particularly dance- through the dance education. The aim of this study is to provide a well-documented review of dance in religious events of the ancient Greek world, by collecting and processing data related to female deities connected to the most important dances and music in public feasts of Ancient Greece -feasts of both religious and war character. Dance, music and poetry; the three elements that managed to influence and configure the education of the Ancient Greeks, leading to one of the most fundamental elements of Greek aesthetics: “harmony”.
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Wilkins, John. "Athenaeus the Navigator." Journal of Hellenic Studies 128 (November 2008): 132–52. http://dx.doi.org/10.1017/s0075426900000094.
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Abstract:This study concerns navigation in a geographical sense and in the sense of the reader finding a way through a complex text with the help of points of reference. Recent studies in Athenaeus have suggested that he was a more sophisticated writer than the second-hand compiler of Hellenistic comment on classical Greek authors, which has been a dominant view. Building on these studies, this article argues that Athenaeus' approach to his history of ancient dining draws on traditional poetic links between the symposium and the sea, and expands such metaphors with a major interest in place and provenance, which also belongs to the literature of the symposium. Provenance at the same time evokes a theme of imperial thought, that Rome can attract to herself all the good things of the earth that are now under her sway. Good things include foods and the literary heritage of Greece now housed in imperial libraries. Athenaeus deploys themes of navigation ambiguously, to celebrate diversity and to warn against the dangers of luxury. Notorious examples of luxury are presented – the Sybarites and Capuans, for example – but there seem to be oblique warnings to Rome as well. Much clearer censure is reserved for the gastronomic poem of Archestratus of Gela, which surveys the best cities in which to eat certain fish. The Deipnosophists deplore the immorality of the poet and his radical rewriting of their key authors Homer and Plato, while at the same time quoting him extensively for the range of his reference to geography and fish. This commentary on Archestratus is a good example of the Deipnosophists' guidance to the reader, Roman or otherwise, who wishes to ‘navigate’ the complicated history of the Greek deipnon and symposium.
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Cuomo, Serafina. "Rewarding Science in Ancient Greece and Rome." Nuncius 34, no. 2 (June 12, 2019): 236–45. http://dx.doi.org/10.1163/18253911-03402003.
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Abstract This paper surveys some of the ancient Greek and Roman evidence regarding rewards for science and scientists. It discusses Platonist views on whether science ought to be its own reward, and possible alternatives to such views. It concludes that a variety of attitudes existed on the issue in antiquity, and that they can be understood in terms of the social and economic status of ancient science practitioners.
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Leshem, Bar. "From Grief to Superbia: the Myth of Niobe in Greek and Roman Funerary Art." Acta Classica Universitatis Scientiarum Debreceniensis 56 (September 1, 2020): 281–96. http://dx.doi.org/10.22315/acd/2020/18.
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The Greek myth of Niobe was known in the ancient world both by literary sources and visual representations. Both in Ancient Greece and in Ancient Rome, the myth was represented, alongside a variety forms of art, in funerary art, but in a different manner during each period of time. In Ancient Greece, the myth was represented on Apulian and South Italian vases, portraying the finale scene of the myth: Niobe’s petrification. In Ancient Rome, a shift is visible: the portrayal of the scene of the killing of Niobe’s children on sarcophagi reliefs. The aim of this paper is to follow the iconography of each culture and to understand the reason for the shift in representation, while comparing the two main media forms.
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Antonescu, Bogdan, David M. Schultz, Hugo M. A. M. Ricketts, and Dragoş Ene. "Theories on Tornado and Waterspout Formation in Ancient Greece and Rome." Weather, Climate, and Society 11, no. 4 (October 1, 2019): 889–900. http://dx.doi.org/10.1175/wcas-d-19-0057.1.
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Abstract Tornadoes and waterspouts have long fascinated humankind through their presence in myths and popular beliefs and originally were believed to have supernatural causes. The first theories explaining weather phenomena as having natural causes were proposed by ancient Greek natural philosophers. Aristotle was one of the first natural philosophers to speculate about the formation of tornadoes and waterspouts in Meteorologica (circa 340 BCE). Aristotle believed that tornadoes and waterspouts were associated with the wind trapped inside the cloud and moving in a circular motion. When the wind escapes the cloud, its descending motion carries the cloud with it, leading to the formation of a typhon (i.e., tornado or waterspout). His theories were adopted and further nuanced by other Greek philosophers such as Theophrastus and Epicurus. Aristotle’s ideas also influenced Roman philosophers such as Lucretius, Seneca, and Pliny the Elder, who further developed his ideas and also added their own speculations (e.g., tornadoes do not need a parent cloud). Almost ignored, Meteorologica was translated into Latin in the twelfth century, initially from an Arabic version, leading to much greater influence over the next centuries and into the Renaissance. In the seventeenth century, the first book-length studies on tornadoes and waterspouts were published in Italy and France, marking the beginning of theoretical and observational studies on these phenomena in Europe. Even if speculations about tornadoes and waterspouts proposed by Greek and Roman authors were cited after the nineteenth century only as historical pieces, core ideas of modern theories explaining these vortices can be traced back to this early literature.
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Głogowska, Katarzyna. "Myths of Ancient Greece and Rome in didactics." Collectanea Philologica, no. 19 (December 30, 2016): 137–48. http://dx.doi.org/10.18778/1733-0319.19.12.
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In text below the author would like to take this opportunity to raise the issue of the possibility of presenting during Latin lessons wide range of information relating to the myths and legends of Ancient Greece and Rome. A lesson dedicated to the Olympian gods will serve as an example of such practice. This lesson will provide a starting point for students and it will enable them to meet the fascinating world of history and culture of the classical antiquity. This article will start with presentation of the most important information about the polish school ‘gimnazjum’ and the curriculum of the Latin language in this school. Then some formal issues connected with conducting the discussed lesson will be highlighted. Afterwards the original lesson plan will be discussed. During the lesson the selected canon of Greek and Roman myths will be presented and then enriched by multimedia presentation and additional exercises. In addition to this both the lesson objectives and teaching methods and forms of work will be shown. Nowadays, very important matter is that all of this should be achieved in a friendly manner and at the same time it should be clear and understandable for pupils, who take Latin classes. This is a real challenge, it is a really difficult task to gain interest of those young people, who are accustomed or even addicted to the use of the Internet, in the language such as Latin. In addition, the author would like to show the pupils the timeless value of myths and legends of the classical antiquity and draw their attention to rediscover the power of classical myths, symbols and concepts in the 21st century.
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Hamilakis, Yannis, and Eleana Yalouri. "Antiquities as symbolic capital in modern Greek society." Antiquity 70, no. 267 (March 1996): 117–29. http://dx.doi.org/10.1017/s0003598x00082934.
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The Great Powers — starting with ancient Imperial Rome and running up to the present — have valued Classical Greek culture as embodying the founding spirit of their own, our own western world. So where does the modern state of Greece stand? It is, more than most nations, encouraged or required to share what might be its particular heritage with a wider world.
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Surać, Roko Sven. "Peter Hunt, Ancient Greek and Roman Slavery, Wiley Blackwell, 2018." Miscellanea Hadriatica et Mediterranea 5, no. 1 (January 7, 2019): 209–12. http://dx.doi.org/10.15291/misc.2751.
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Although his name will not reverberate as much as that of some of his predecessors when researchers of the very complex subject of slavery in the Antiquity are mentioned, Peter Hunt’s works have nevertheless won him acclaim as one of the leading researchers of slaveholding societies. A professor at the University of Colorado, Hunt specializes in social history in the context of slavery and wars – specifically, in ancient Greece. His book Ancient Greek and Roman Slavery was published by Wiley Blackwell in 2018. He himself announced it back in 2012. It is his first major work on the slavery in Rome.
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Meer, T. P. "CULT OF WATER IN ANCIENT GREECE AND ROME. BRIDGES AND HYDRAULIC STRUCTURESAND." Landscape architecture in the globalization era, no. 4 (2020): 43–55. http://dx.doi.org/10.37770/2712-7656-2020-4-43-55.
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Water was the main factor in choosing where to build settlements. Large civilizations - Mesopotamian, Egyptian, Greek and Roman, settled around the Mediterranean Sea and developed thanks to the waters of rivers and seas. The power of water was embodied by the Greeks in Gods and small deities, such as: Poseidon, Aphrodite, Naiades and others. The heyday of large ancient cities during the Roman period is associated with the construction of bridges and aqueducts. Water was assigned a significant role in the culture of local traditions. Residents of ancient cities have built many technical structures designed for water supply, irrigation of fields, sewerage and simply in honor of the worship of gods, patrons of water.
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Makhortova, Varvara. "Classical Antiquity in the Poetry of Sophia de Mello Breiner Andresen." Stephanos Peer reviewed multilanguage scientific journal 44, no. 6 (December 30, 2020): 96–102. http://dx.doi.org/10.24249/2309-9917-2020-44-6-96-102.
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The article analyses the influence of Ancient Greek philosophy and mythology, noticeable in the poetry of Sophia de Mello Breyner Andresen. The results of the analysis show that Sophia de Mello’s poetry, seemingly non-philosophic, is based on the ideas close to the theories proposed by ancient philosophers from Pre-Socratics philosophers to Socrates, Plato and Aristotle. The ideas of the unity between the human being and the Universe, as well as Plato’s theory of the Truth, the Good and the Beauty gain the special importance for the Portuguese writer. The ancient myths are reinterpreted by Sophia de Mello. The Ancient Greece is represented as the symbol of harmony between the human being and the Nature.
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Boyle, A. J. "Introduction: Medea in Greece and Rome." Ramus 41, no. 1-2 (2012): 1–32. http://dx.doi.org/10.1017/s0048671x00000230.
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Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the complexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, displaced traitor to family and state, helper-maiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental ‘other’, barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complexities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically ‘Roman’ Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculpture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Roman intellectual and visual world. The present introduction briefly outlines Medea's Greek history before examining in detail her journey through Republican Rome. It concludes with a survey of her imperial configurations and a preliminary framing of the studies which follow.
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Missios, Symeon. "Hippocrates, Galen, and the uses of trepanation in the ancient classical world." Neurosurgical Focus 23, no. 1 (July 2007): 1–9. http://dx.doi.org/10.3171/foc-07/07/e11.
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✓Trepanation (ανατρησιζ) is the process by which a hole is drilled into the skull, exposing the intracranial contents for either medical or mystical purposes. It represents one of the oldest surgical procedures, and its practice was widespread in many ancient cultures and several parts of the world. Trepanation was used in ancient Greece and Rome, as described in several ancient texts. Hippocrates and Galen are two of the most prominent ancient Greek medical writers, and their works have influenced the evolution of medicine and neurosurgery across the centuries. The purpose of this paper is to examine Hippocrates' and Galen's written accounts of the technique and use of trepanation in the ancient Greek and Roman world. Examination of those records reveals the ancient knowledge of neurological anatomy, physiology, and therapeutics, and illustrates the state and evolution of neurosurgery in the classical world.
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Bemis, Michael F. "Book Review: Conflict in Ancient Greece and Rome: The Definitive Political, Social, and Military Encyclopedia." Reference & User Services Quarterly 56, no. 3 (April 3, 2017): 215. http://dx.doi.org/10.5860/rusq.56n3.215c.
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Classical civilization represents the foundation upon which rests all of modern-day Western society. The English language, in particular, is larded with allusions to the Greeks and Romans of yesteryear, from “Achilles’s heel” to “deus ex machina” to “Trojan Horse,” which make reference to the many influences that these cultures have had on our art, literature, theater, and, unfortunately, war and military (mis)adventures. For all these reasons, it behooves the modern reader to have at least a passing familiarity with what transpired all those thousands of years ago. The editors would appear to agree with this assessment, as they state in the “Preface” that this three-volume work “is intended to fill a gap in current reference works. It meets the need for a standard reference work on Greek and Roman military history and related institutions that is accessible to nonspecialists” (xxiii). Just what criteria the editors used in framing this statement is unknown; however, a literature search reveals many well-regarded titles covering this subject matter. From the topic-specific, such as John Warry’s Warfare in the Classical World: An Illustrated Encyclopedia of Weapons, Warriors, and Warfare in the Ancient Civilizations of Greece and Rome (University of Oklahoma Press 1995) to the more general, such as the venerable Oxford Classical Dictionary (Oxford University Press 2012), now in its fourth edition, there is certainly no shortage of print reference materials concerning warfare during the time of the Greek and Roman empires.
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ROYNON, TESSA. "A New “Romen” Empire: Toni Morrison's Love and the Classics." Journal of American Studies 41, no. 1 (March 8, 2007): 31–47. http://dx.doi.org/10.1017/s0021875806002738.
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An important but little-studied feature of Toni Morrison's novels is their ambivalent relationship with classical tradition. Morrison was a classics minor while at Howard University, and her deployment of the cultural practices of ancient Greece and Rome is fundamental to her radical project. Indeed, the works' revisionary classicism extends far beyond the scope of established criticism, which has largely confined itself to the engagement with Greek tragedy in Beloved, with the Demeter/Kore myth in The Bluest Eye and with allusions to Oedipus and Odysseus in Song of Solomon.1 Morrison repeatedly subverts the central role that Greece and Rome have played in American self-definition and historiography. In Paradise, for example, the affinity between the Oven in Ruby and the Greek koine hestia or communal hearth critiques the historical Founding Fathers' insistence on their new nation's analogical relationship with the ancient republics. And in their densely allusive rewritings of slavery, the Civil War and its aftermath, Beloved and Jazz expose the dependence of the “Old South” on classical pastoral tradition. It should come as no surprise, therefore, that in her most recent novel – Love (2003) – Morrison further develops the transformative engagement with America's Graeco-Roman inheritance that characterizes all of her previous fiction.2
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Baker, Camille. "How Big Was the Roman Empire?" Mathematics Teaching in the Middle School 1, no. 9 (March 1996): 754–59. http://dx.doi.org/10.5951/mtms.1.9.0754.
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This activity was designed as part of a sixth-grade interdisciplinary unit. “Seeing the World through the Eyes of Ancient Greeks and Romans.” In addition to learning about Greek and Roman geography, economics, government, and societies in social-studies class. students studied ancient scientists, physicians. and inventors in science class. They also explored Greek and Roman myths, religions, languages, and ideas in language-arts classes. In mathe matics classes, students experimented with the golden ratio and the pentagram. wrote an essay on how the Greeks used mathematics to understand their world, examined Greek and Roman architecture, and investigated the physical size of the Roman Empire. To culminate the unit, students worked in small groups on special projects, such as building a scale model of the Parthenon, measuring and creating a cale drawing comparing the soccer field with the Pantheon, creating and performing original myths or plays depicting life in ancient Greece and Rome, and constructing simple machines or demonstrations of the scientists' work in Greek and Roman times.
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Popovych, Yaroslava. "Historical and Linguocultural Analysis of Pathopsychological Terms with -Mania and -Phobia Term Elements." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology”, no. 2 (12) (2020): 77–81. http://dx.doi.org/10.17721/bsp.2020.2(12).14.
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The article is devoted to the analysis of the origin of psychological clinical terminology and the impact on its development of historical, mythological and cultural realities/characters of Ancient Greece and Rome. Concerning that clinical terminology’s development took much time it has obviously made it harder to understand than those terms, that were recently composed. The application and understanding of «phobia» and «mania» in ancient authors’ original texts were analyzed to clarify whether the meaning and usage changed throughout the years. Among those text were works of the physicians Hippocrates and Areteus of Cappadocia, historian Pausanias and even philosophers Plato, Seneca, to see if the attitude to each term of those authors has changed in modern pathopsychic terminology. All the results of this study are summarized and represented in 10 categories, depending on the meaning of their attributive components, the origin of the term is analyzed and the corresponding linguistic and cultural commentary is given to it. Comments are related to mythological reality, which can make meaning of the term not clear to those, who are not aware of that specific myth and the historical and cultural features of Ancient Greece and Rome, which influenced the formation of each individual term. In addition, this article contains rare terms, that have -mania and -phobia component, and a similar first element. However, the language sources (Ancient Greek/ Latin) are different, that certify the development of this group of terms, for Latin is used in clinical terminology more rarely, than Greek.
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Rysiaieva, Maryna. "On Ancient Greek Thymiateria and Their Purpose." Text and Image: Essential Problems in Art History, no. 2 (2019): 5–33. http://dx.doi.org/10.17721/2519-4801.2019.2.01.
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The paper looks at the ancient Greek thymiateria and aims at finding data in literary, epigraphic and visual sources that would cast light on the use of thymiateria in private and public rituals of the VIІ th century BC – IVth century AD. Systematic collection of data and its comparative historical analysis were in the core of the methodology. Among the main methods of analysing the collected sources, one should mention empirical, analytical, structural-typological and iconographical methods. A thymiaterion (an incense burner) is firstly mentioned in the Vth century BC in Herodotus’ Historia. In centuries to come, the panhellenic name of thymiaterion would dominate and enter to Roman and Germanic languages. This device was used solely with fire, charcoal or heated pebbles to burn aromatic compounds, incense and aromatic plants and flowers in particular. Thymiateria didn’t have any fixed shapes or sizes. In narrative sources, they were also named bomiskos, libanotis (libanotris), escharis, tripodiskos etc. In this paper, I examine the basic constructive elements of thymiateria. As visual sources and lyric poetry suggest, they were used in the archaic period. The earliest instance of the use of thymiateria in the ritual practice date late to the VIth century BC in the Phanagoria of the Bosporus. The thymiateria is depicted on mostly in mythological scenes on the Athenian red-figure pottery late of the Vth – IVth centuries BC found in Panticapaeum and in the surrounding area. The Greek iconography of mythological scenes on the vases was clear for the locals. The majority of visual, numismatics and epigraphic sources that reveal the use of thymiateria on the Bosporus are dating to the IVth–ІІth centuries BC, when they were spread in Hellenistic Greece and, especially in sanctuaries of Delos. Although aroma was an essential part of thymiateria culture, only Orphic Hymns cast light on the use of particular incenses (in pure form or in compound) for each gods or heroes. One important question persists: which aromas were burnt in thymiateria and from which countries were they brought to Greece? From literary sources, we know that plant-based aromas, namely incense and myrrh were brought from South Arabia and Syria. Thymiateria were used during rituals in sanctuaries and temples, during religious processions, funerals, symposiums and wedding that were accompanied by aromatic smoke. The present essay should be regarded as a starting point for the further in-depth study of thymiateria from the Northern Black sea region and Olbia in particular.
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Schidel, Walter. "The Most Silent Women of Greece and Rome: Rural Labour and Women's Life in the Ancient World (I)." Greece and Rome 42, no. 2 (October 1995): 202–17. http://dx.doi.org/10.1017/s001738350002564x.
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Over the last twenty years, the study of the women of the Greek and Roman world has experienced a boom that, if it is judged by the sheer output of relevant publications, dwarfs any other recent innovations and redirections in the field of ancient history. In view of the ongoing proliferation of studies on this topic, I can only hope that my present paper not only adds to the bulk but also a little to the stock (to heed Laurence Sterne's lament over the historian's business) in that it seeks to redress an imbalance that informs most previous research on women's life in classical antiquity. In short, the large majority of studies in this particular field concentrate on urban environments and, as a consequence, give undue prominence to a certain segment, actually a minority group in terms of quantity, of ancient society. Needless to say, however, that, given the nature of our sources, anything else than this biased focus would have been a big surprise and probably impossible to achieve. Even so, the busy study of those layers of ancient society that produced, or caught the eye of, the authors of Greek and Roman literature, inscriptions, papyri, and coinlegends, can be fully vindicated only when the more shadowy and obscure regions of ancient history are not allowed to be passed over in complete silence. The contribution of women to ancient agriculture is an issue that falls squarely within that latter, underprivileged category of subjects. In her introduction to a collection of essays on new methodological approaches to the study of women in antiquity, Marilyn Skinner pointed out that ‘Real women, like other muted groups, are not to be found so much in the explicit text of the historical record as in its gaps and silences – a circumstance that requires the application of research methods based largely upon controlled inference’
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Muellner, Leonard. "Annotations and the Ancient Greek Hero: Past, Present, and Future." Comunicar 22, no. 44 (January 1, 2015): 45–53. http://dx.doi.org/10.3916/c44-2015-05.
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Evidence for annotating Homeric poetry in Ancient Greece is as old as the 5th Century BCE, when the «Iliad» and «Odyssey» were performed by professional singers/composers who also performed annotations to the poetry in answer to questions from their audiences. As the long transition from a song culture into a literate society took place in Ancient Greece from the 8th to the 2nd and 1st centuries BCE, annotations were gradually incorporated into written poetic texts. By the 10th Century CE, the quantity of written annotations in the margins of medieval manuscripts has become huge. For the first two versions of «The Ancient Hero», a HarvardX MOOC, it was not possible to implement the set of annotation tools that we requested as a vehicle for close reading and assessment. Using a partial system, we were able to create a semblance of annotations in close reading self-assessment exercises. For the anticipated third version, we expect to have a complete set of textual and video annotation tools developed for HarvardX, including semantic tagging and full sharing of annotations. Such a system, which promises to make the educational experience more effective, will also inaugurate a digital phase in the long history of Homeric annotation.Las evidencias de anotaciones en la poesía homérica de la Antigua Grecia se remontan al siglo V (a.C.), cuando ya la «Ilíada» y la «Odisea» eran representadas por cantantes profesionales/compositores, que hacían anotaciones en la poesía para responder a los interrogantes de su público. A medida que la transición, desde una cultura de la canción a una sociedad alfabetizada, aconteció en este período de la Antigua Grecia, entre el siglo VIII al I y II (a.C.), las anotaciones se incorporaron poco a poco en los escritos poéticos. La cantidad de anotaciones escritas en los márgenes de los manuscritos medievales se volvió enorme hacia el siglo X. En las dos primeras versiones de «The Ancient Hero» en el MOOC de HarvardX no fue posible utilizar el conjunto de herramientas de anotación solicitadas como medio para una atenta evaluación de las lecturas. Utilizando un sistema parcial, hemos sido capaces de crear aparentes anotaciones en los primeros ejercicios de autoevaluación de lectura. En la tercera versión, disponemos ya de un conjunto completo de herramientas de anotaciones de texto y de vídeo, desarrollados para HarvardX, incluyendo etiquetado semántico y anotaciones compartidas. Dicho sistema nos permitirá una experiencia educativa más eficaz, inaugurando también una fase digital en la larga historia de la anotación homérica.
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THOMAS, ROSALIND. "Performance and written literature in Classical Greece: envisaging performance from written literature and comparative contexts." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 348–57. http://dx.doi.org/10.1017/s0041977x03000247.
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This paper examines the nature of performance literature in Ancient Greece, comparing it with other modern and medieval examples. It concentrates on archaic Greek ‘song culture’, and especially choral praise poetry. It discusses the social and cultural significance of the original performances and, drawing on comparative examples, investigates the ‘gap’ between performance and text, possible cultural explanations and interpretations of ‘difficult’ performed literature—particularly competitive and religious—which stand out in comparison to performance literatures elsewhere.
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Ballesteros, Bernardo. "ON GILGAMESH AND HOMER: ISHTAR, APHRODITE AND THE MEANING OF A PARALLEL." Classical Quarterly 71, no. 1 (May 2021): 1–21. http://dx.doi.org/10.1017/s0009838821000513.
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AbstractThis article reconsiders the similarities between Aphrodite's ascent to Olympus and Ishtar's ascent to heaven in Iliad Book 5 and the Standard Babylonian Gilgamesh Tablet VI respectively. The widely accepted hypothesis of an Iliadic reception of the Mesopotamian poem is questioned, and the consonance explained as part of a vast stream of tradition encompassing ancient Near Eastern and early Greek narrative poetry. Compositional and conceptual patterns common to the two scenes are first analyzed in a broader early Greek context, and then across further Sumerian, Akkadian, Ugaritic and Hurro-Hittite sources. The shared compositional techniques at work in Mesopotamia and the Eastern Mediterranean can be seen as a function of the largely performative nature of narrative poetry. This contributes to explaining literary transmission within the Near East and onto Greece.
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Fletcher, K. F. B. "Systematic Genealogies in Apollodorus' Bibliotheca and the Exclusion of Rome from Greek Myth." Classical Antiquity 27, no. 1 (April 1, 2008): 59–91. http://dx.doi.org/10.1525/ca.2008.27.1.59.
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Apollodorus' Bibliotheca is often used, though little studied. Like any author, however, Apollodorus has his own aims. As scholars have noticed, he does not include any discussion of Rome and rarely mentions Italy, an absence they link to tendencies of the Second Sophistic, during which period he was writing. I refine this view by exploring the nature of Apollodorus' project as a whole, showing that he creates a system of genealogies that connects Greece with other places and peoples of the ancient world, specifically the Near East. The nature of the Bibliotheca allows us to see these myths as a closed system, in which these genealogical connections depend upon the perceived importance of these peoples; e.g. the Persians have more connections with the Greeks than the Molossians do. It is from this system that Apollodorus excludes Rome, thereby denying the Romans any genealogical connections with the Greeks and thus marking them as being of little importance. The consciousness of Apollodorus' decisions is clear from the many opportunities he had to include Rome and the fact that his sources contained myths about Rome or Italy. The Bibliotheca is a tendentious account of Greek myth with its own goals, and our knowledge of Apollodorus' aims must condition any use of this text.
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Т., Kotenko. "The formation of human rights and freedoms in the teachings of philosophers of ancient Greece and Rome." Almanac of law: The role of legal doctrine in ensuring of human rights 11, no. 11 (August 2020): 127–33. http://dx.doi.org/10.33663/2524-017x-2020-11-23.
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The article deals with the historical stages of the creation, development, and formation of a human rights institute. The ideological and theoretical heritage of Ancient Greece and Rome, which is the basis for the study of ideas about justice, social equality, and human freedom, is analyzed based on the analysis of the fundamental ideas of the most famous thinkers of antiquity. It was the philosophers of antiquity who initiated the concept of "natural law", which was formed over the centuries by the desire of man to understand the world, determine his place in society and politics. From the time of antiquity, the concept of human rights gradually began to emerge; Subsequently, the concept of equality, freedom of person, person, and citizen were formed. Ancient philosophers came up with the idea of law in general and the idea of human rights under the requirements of their time and conditions of social development. Over time, the ancient perception of social equality, justice, dignity, independence, and freedom of man became the starting point and benchmark of European political culture. The early period of the development of political and legal doctrines in ancient Greece is associated with the time of the formation of ancient Greek statehood. It was at this time that an attempt was made to give rationalist ideas about ethical and legal order in human affairs and relations instead of mythological ones. It should be noted that ancient Greek views on human rights were formed in mythological ideas about the origin of policies and divine justice. That is why rights come from the divine order of justice, which became the basis for the category equality. Only what corresponded to the concept of equality (within the concept of justice) was understood as right. In ancient Greek politics, customs and mono-norms gradually transformed towards protecting the dignity of citizens. The polite democracy gave impetus to the emergence of freedom, which promoted the emergence of equal political rights among the citizens of this policy. In the Greek city-state, the law first emerged as a specific phenomenon, and the life of the policy began to be compulsory for everyone. Subsequently, the Pythagoreans (VI –V centuries BC) formulated an important role in shaping the idea of legal equality and justice, using numerical proportions, that is, the ratio of certain parameters. The provision that "fair is to pay another equal" essentially introduces the coupon principle. Subsequently, this reflected Solon (7th-6th centuries BC) in his reforms. It eliminated debt slavery and, as a result of the compromise between nobility and demos, introduced a moderate censorship democracy in Athens. All citizens of the policy should equally be protected by the law and obey its mandatory rules (1). Recognized the law as a requirement of legal equality of free citizens of the policy, slaves did not apply the legal rules. Equality was considered in two respects: equality in law and equality before the law. Developed by Roman lawyers provisions in which a person acts as a subject of law, determine the legal status of a person, establish the freedom and formal equality of people under natural law, define Roman citizenship as a special legal status of a person, the distribution of the right to private and public, etc. contributed to the awareness of legal the importance of human rights in the context of the systematic doctrine of the legal nature of the relationship between the individual and the state. Roman law, extending to a state which it regarded as the object of its study along with positive law, ensured a legal relationship between the state and the individual, which was crucial for the development of the institution of the protection of individual rights in the world at that time (14, p. 119). In relation to individuals, the state was not above the rule of law, but directly its component part, which has all the basic properties of a law. The basis of a just and legal relationship between the individual and the state recognized the law, not the state. The individual and the state must be law-abiding subjects of legal relations, that is, act according to the rules of law. Conclusion. To sum up, we can point out that the first theoretical developments and statutory provisions of the law go back to ancient times. The thinkers of Ancient Greece and Rome initiated the basic concepts of justice, equality, autonomy. It was then that ideas about political rights, lawmaking, democracy, and the personal responsibility of citizens were formed. However, freedom was not universal, it did not belong to slaves, and they were not the subjects of relations in the policy. The population of the policies was divided into different social and ethnic groups and accordingly had different legal status. Such inequality was the norm, so the priority was given to a policy or state that was enshrined in legislation. However, in Ancient Greece, there were also certain individual rights of citizens such as the right to speak; private property rights; the right to participate in government; the right to hold office; to participate in national meetings; the right to participate in the administration of justice; the right to appeal against illegal acts, etc. In Ancient Rome, this list was supplemented by the right to bargain, freedom of movement, the right of the people's tribune to veto, the ban on torture, the adversarial process of the lawsuit, etc. Keywords: Antiquity period, city-policies, human rights, legal equality, society, justice.
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Kovalev, А. А. "Dualism of Good and Evil in Early Antique Philosophy." Ekonomicheskie i sotsial’no-gumanitarnye issledovaniya, no. 1(29) (2021): 46–54. http://dx.doi.org/10.24151/2409-1073-2021-1-46-54.
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The author analyzes the dualism of good and evil in early antique philosophy, primarily in the legacy of the Presocratics. The influence of pre-Socratic ideas about the phenomenon of evil and its dialectical relationship with the good, not just on Socrates and whole high Greek philosophical classics, but also on Stoics, is explored. Using methods of historical and philosophical analysis as well as a comparativist approach, the author concludes that good and evil as cosmogonic categories in ancient Greece and Rome acquired the features of ethical and sociopolitical categories in the high classics.
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Risteski, Sanja, and Vineta Srebrenkoska. "Appearance of protective clothing over the centuries." Tekstilna industrija 68, no. 4 (2020): 38–48. http://dx.doi.org/10.5937/tekstind2004038r.
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In the history of the costume, protective military clothing has a special place. The origins of military clothing go deep into history. Protective clothing defined as protective "cover" clothes is used to protect the body from physical attack. In the in many of the ancient civilization is noticed similarity in the appearance of military clothing, which means that Egyptian, Assyrian, Greek and Roman soldiers are dressed and armed in a similar way. In this paper the protective military clothes over the centuries, starting from Egypt, Babylon and Assyria, Crete and Mycenae, Ancient Greece and Rome, reaching the protective clothing characteristic of the medieval period slowly approaching the contemporary look of protective clothing is being analyzed.
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Frendo, Mario. "Ancient Greek Tragedy as Performance: the Literature–Performance Problematic." New Theatre Quarterly 35, no. 1 (January 16, 2019): 19–32. http://dx.doi.org/10.1017/s0266464x18000581.
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In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In view of this, Walter J. Ong's caution with respect to the rational processes produced by generations of literate culture will be acknowledged and alternative critiques sought, including performance criticism and performance-oriented frameworks such as orality, via which Frendo traces possible critical trajectories that would allow contemporary scholarship to deal with ancient tragedy as a performance rather than literary phenomenon. Reference will be made to Aristotle's use of the term ‘poetry’, and how performance criticism may provide new insight into how the Poetics deals with one of the earliest performance phenomena in the West. Mario Frendo is lecturer of theatre and performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is director of CaP, a research group focusing on links between culture and performance. His research interests include musicality in theatre, ancient tragedy, and relations between philosophical thought and performance.
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DE ANGELIS, FRANCO. "GOING AGAINST THE GRAIN IN SICILIAN GREEK ECONOMICS." Greece and Rome 53, no. 1 (April 2006): 29–47. http://dx.doi.org/10.1017/s0017383506000027.
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On his recent retirement from the chair of classical archaeology in Cambridge University, Anthony Snodgrass reflected on the state of the subject, wondering whether a paradigm shift has occurred. Snodgrass assesses various matters, including, for our purposes, how archaeological approaches to ancient literary sources have changed. His comments deserve quotation in full:…Classical archaeology is often stigmatized, by its many critics, as being ‘text-driven’ … [in] that the subject takes its orientation from, and adapts its whole narrative to, the lead given by the literary sources. Thus the archaeology of Roman Britain has been built around Tacitus' narrative of conquest; the study of Greek art around the text of the Elder Pliny; the archaeology of fifth-century Athens around the narratives supplied by Herodotus, Thucydides and Xenophon; that of Republican Rome similarly around those of Livy and Diodorus; that of Sicily again around Thucydides; and most notoriously, that of Aegean prehistory and protohistory around Homer…. But there is a deeper level still. Traditional Classical archaeology is stated…to have directed its energies at those aspects of the ancient world on which the written sources, taken as a whole, throw light. Thus, on urban but not on rural life; on public and civic, but not on domestic activity; on periods seen as historically important, but not on the obscurer ones; on the permanent physical manifestations of religion, but not on the temporary ones – sacrifice, patterns of dedication, ritual meals, pilgrimage; on the artefacts interred in burials, but not on burial itself; on the historically prominent states – in Greece, Athens and Sparta – but not on what has recently been called ‘the Third Greece’…
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Juchacz, Piotr W. "Dikaiosyne – sprawiedliwość. Genealogia pojęcia." Filozofia Publiczna i Edukacja Demokratyczna 1, no. 2 (July 31, 2018): 46–63. http://dx.doi.org/10.14746/fped.2012.1.2.3.
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The concept of justice takes a central position in practical philosophy from the birth of philosophical reflection in the ancient Greece to contemporary discussions in political, social, and moral philosophy. This article presents a genealogy and development of the Greek concept of dikaiosyne (δικαιοσύνη). It starts with the first poetical appearances of a term dike (δίκη) in Homer’s poetry, continues with the analysis through its more sophisticated application by Hesiod, and finally it reaches the pivotal philosophical transformations of dike into dikaiosyne in The Histories of Herodotus.
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Gawrysiak, Piotr. "RACHUNKI I LICZBY STAROŻYTNYCH GREKÓW I RZYMIAN." Zeszyty Prawnicze 6, no. 1 (June 22, 2017): 65. http://dx.doi.org/10.21697/zp.2006.6.1.05.
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Ancient Greek and Roman Numerical Notation and Counting AidsSummary The abilities to count and write down numbers are usually regarded as trivial, while in fact these skills are early technologies that significantly influenced the development of science, trade, culture and law. The lack of understanding of the way in which numerical information was conveyed among people and the ways in which daily computations - such as taxes, livestock accounts, prices etc. - were carried out, might lead to improper reasoning about the culture itself. It is, therefore, useful to know the basics of „daily” mathematics used by Greeks and Romans while studying – for example - Roman law.In this paper some basic information regarding the numerical notation used in ancient Greece and Rome is presented. This includes Roman numerals with examples of mathematical operations performed with their aid and two Greek numerical systems, namely herodianic and attic. Early aids to computation are also discussed, including finger reckoning and the abacus.
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Winkler, Martin M. "Helenê kinêmatographikê; or, Is this the face that launched a thousand films?" Nuntius Antiquus 12, no. 1 (June 24, 2016): 215–57. http://dx.doi.org/10.17851/1983-3636.12.1.215-257.
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In ancient Greece and Rome, Helen of Troy was the most beautiful woman among mortals. Her beauty, an almost divine quality, made Helen immortal. Its praise was an integral part of Greek and Roman letters. The cinema has eagerly followed in the footsteps of classical and later authors and artists by retelling her story. Beautiful actresses have variously portrayed her as unhappy wife of Menelaus, romantic lover of Paris, and ruinous cause of the Trojan War. This paper pays homage to Helen’s beauty by presenting, in word and image, her most notable screen incarnations from 1911 to 2013.
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Greenwood, Emily. "Reception Studies: The Cultural Mobility of Classics." Daedalus 145, no. 2 (April 2016): 41–49. http://dx.doi.org/10.1162/daed_a_00374.
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In spite of connotations of classics and the classical as an established tradition based around a stable canon, Greek and Roman classical antiquity has never been a fixed object of study. It has changed as our knowledge of ancient Greece and Rome has grown and shifted, and as a function of history, intellectual movements, and taste. Classicists have turned to classical reception studies in an attempt to chart some of the different encounters that various historical audiences have had with Greek and Roman classics, and this wave of research poses interdisciplinary questions about the relation of Greek and Roman classics to world literatures and cultures. The emphasis on classical reception studies offers fresh ways of thinking about the cultural mobility of the classics without appealing to discredited, old-fashioned notions of “timeless importance” or “universal value.” This debate is explored here via a Malawian reception of Sophocles's Antigone.
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JENSEN, FREYJA COX. "THE POPULARITY OF ANCIENT HISTORIANS, 1450–1600." Historical Journal 61, no. 3 (February 26, 2018): 561–95. http://dx.doi.org/10.1017/s0018246x17000395.
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AbstractThe histories of ancient Greece and Rome are part of a shared European heritage, and a foundation for many modern Western social and cultural traditions. Their printing and circulation during the Renaissance helped to shape the identities of individual nations, and create different reading publics. Yet we still lack a comprehensive understanding of the forms in which works of Greek and Roman history were published in the first centuries of the handpress age, the relationship between the ideas contained within these texts and the books as material objects, and thus the precise nature of the changes they effected in early modern European culture and society. This article provides the groundwork for a reassessment of the place of ancient history in the early modern world. Using new, digital resources to reappraise existing scholarship, it offers a fresh evaluation of the publication of the ancient historians from the inception of print to 1600, revealing important differences that alter our understanding of particular authors, texts, and trends, and suggesting directions for further research. It also models the research possibilities of large-scale digital catalogues and databases, and highlights the possibilities (and pitfalls) of these resources.
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Lê Vũ Trường Giang, Lê Vũ. "THE SPIRITUAL VALUES OF ROMAN CULTURE IN TWO CENTURIES OF THE PAX ROMANA PERIOD (27BC-180)." Hue University Journal of Science: Social Sciences and Humanities 128, no. 6B (March 25, 2019): 167. http://dx.doi.org/10.26459/hueuni-jssh.v128i6b.4913.
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<p>The Pax Romana period was the pinnacle of ancient Roman culture since founding the country until the division into Eastern and Western Empire in 395. Only in two centuries, under the principate regime, Roman culture continues to create the available cultural roots of itself that inherited from the earlier generations; it selectively received and developed Greek foreign culture to a new point. All cultural values from the non-material to the material were constructed under the early dynasties of Augustus to the heyday of the Five Sage Kings or Aurelius who is both emperor and philosopher shows development and prosperity of Rome. Fields such as literature, history, science, philosophy,… have brilliant achievements. Rome has collapsed but Roman culture still lives in language, poetry, art of Latin, in the spirit of modern law and in the orderly traditions of the old European continent. </p>
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Sribniak, M. "THE US CONSTITUTION: RECEPTION OF ANTIQUITY." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 139 (2018): 69–72. http://dx.doi.org/10.17721/1728-2640.2018.139.14.
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The article indicates that ancient examples played the essential role during early US history. It was a vital aspect which had a significant impact on the essence of the American Constitution. Delegates of the Philadelphian Convention appealed to the ideas of ancient philosophers as well as historical background of ancient Greece and Rome. It was common for the speeches at the convention to point out various events, connected with the history of Athens, Sparta and Carthage, albeit Roman Republic was the main source for resemblance. The heritage of such ancient philosophers, as Plato, Aristotle, Polybius, Cicero and partly Tacitus and Livy influenced the vision of American political elite of that period, which was particularly represented by Tomas Jefferson, James Wilson, John Adams and George Washington. The article demonstrates that the astonishing number of highly intelligent people with university education participated in the discussions at Philadelphian Convention. Such individuals easily read original Greek and Roman works. The US Founding Fathers widely cited positive examples of federalism and republic, although they made an accent on the negative ancient experience of tyranny in order to justify their views on the Constitution. Therefore, the US Constitution shows in accordance with the text the remarkable influence of ancient thinkers and their ideas concerning this document.
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Leedy, Douglas. "Music in Ancient Greece and Rome, and: Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages (review)." Notes 57, no. 3 (2001): 615–18. http://dx.doi.org/10.1353/not.2001.0034.
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Appiah, Kwame Anthony. "Boundaries of Culture." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 513–25. http://dx.doi.org/10.1632/pmla.2017.132.3.513.
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So begins Constantine Cavafy's classic poem of November 1898, “Waiting for the Barbarians,” in Edmund Keeley and Philip Sherrard's assured translation. Cavafy was a writer who tested all manner of boundary conditions. His every identity came with an asterisk. He was a Greek who never lived in Greece. A government clerk of Greek Orthodox upbringing, in a tributary state of a Muslim empire, he spent his evenings on foot, looking for pagan gods in their incarnate, carnal versions. He was a poet who resisted publication, save for broadsheets he circulated among close friends; a man whose homeland was a neighborhood, and a dream. Much of his poetry is a map of Alexandria overlaid with a map of the classical world—modern Alexandria and ancient Athens—as Leopold Bloom's Dublin neighborhood underlies Odysseus's Ithaca. And I conjure Cavafy because, as I want to persuade you, he is representative precisely in all his seeming anomalousness.
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Skarbek-Kazanecki, Jan. "Greek symposion as a space for philosophical discourse: Xenophanes and criticism of the poetic tradition." Tekstualia 1, no. 56 (July 21, 2019): 35–52. http://dx.doi.org/10.5604/01.3001.0013.3286.
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The aim of the present article is to discuss the relation between the philosophy and poetry in archaic Greece on the example of Xenophanes of Colophon (6th century BC), the poet best known for a critique of anthropomorphic imagery of the traditional religion. The initial problem lies in understanding the performative aspect of the elegiac poems of Xenophanes; analysis of the fragment 1W and 2W has revealed that the Xenophanes’ literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question, wiz. how the poetic fragments fi t with the Xenophanes’ compositions in which he attacks the traditional beliefs and poetic ideas of Homer or Hesiod. The particular focus has been on the fragments of elegies that are presumed to belong to the collection named Sylloi: as the author has suggested, the critique of traditional mythical narratives, as well as undermining the authority of other poets, can be interpreted as an expression of performative practices functioning at the symposia of the archaic and classical epochs. By removing the division between the „philosophy” and „poetry”, the different aspects of Xenophanes’ fragments start to coincide with the phenomenon of ancient symposium, understood as a space for the intellectual competition.
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Rizzo, Susanna, and Greg Melleuish. "In Search of the Origins of the Western Mind: McGilchrist and the Axial Age." Histories 1, no. 1 (January 25, 2021): 24–41. http://dx.doi.org/10.3390/histories1010007.
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This paper considers and analyses the idea propounded by Iain McGilchrist that the foundation of Western rationalism is the dominance of the left side of the brain and that this occurred first in ancient Greece. It argues that the transformation that occurred in Greece, as part of a more widespread transformation that is sometimes termed the Axial Age, was, at least in part, connected to the emergence of literacy which transformed the workings of the human brain. This transformation was not uniform and took different forms in different civilisations, including China and India. The emergence of what Donald terms a “theoretic” culture or what can also be called “rationalism” is best understood in terms of transformations in language, including the transition from poetry to prose and the separation of word and thing. Hence, the development of theoretic culture in Greece is best understood in terms of the particularity of Greek cultural development. This transition both created aporias, as exemplified by the opposition between the ontologies of “being” and “becoming”, and led to the eventual victory of theoretic culture that established the hegemony of the left side of the brain.
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Izzet, Vedia, and Robert Shorrock. "General." Greece and Rome 61, no. 1 (March 4, 2014): 142–46. http://dx.doi.org/10.1017/s0017383513000338.
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The last few years have brought us handbooks, companion guides and encyclopaedias in serried ranks. In size these works have ranged from magnum (opus) through to double magnum or perhaps (in the case of the 2010 Oxford Encyclopedia of Ancient Greece and Rome) to jeroboam. The new Wiley-Blackwell Encyclopedia of Ancient History outdoes them all in capacity (clearly a rehoboam) and range. This vast work – comprising over 5,000 entries in more than 7,000 pages – advances confidently (note the bold use of the definite article in the title: TheEncyclopedia of Ancient History) beyond the confines of the ‘classical world’ and ‘ancient Greece and Rome’ to provide nothing less than a reference work for the whole of Ancient History from the Near East to the Egypt of the Pharaohs, from the Neolithic to the eighth century ce. The refusal of this work to recognize traditional boundaries would clearly have appealed to the spirit of Alexander III, the Great (whose entry spans an impressive six pages). Alexander would no doubt also be impressed by the remarkable juxtapositions which occur within this alphabetized encyclopaedia: in volume 11 we move within five pages from an Egyptian residence and town associated with Rameses II (Piramese) to the Greek district of Elis around Olympia (Pisa) to a ‘short Jewish magical text of a Late Antique Babylonian provenance’ (Pishra de-Rabbi Hanina ben Dosa; 5337). Alexander's attempts at eastward expansion proved, in the end, too much for his men. One wonders if this work too – in the form of thirteen printed volumes – may prove to be similarly overwhelming to many an undergraduate whose starting point lies in Augustan Rome or Periclean Athens:(consider, for example the daunting thirty-five pages of maps which precede the first entry in volume 1 (not ‘Aardvark’, alas, but ‘Abantes’). However, it is important to consider that the print version of this work is not the end of the project nor even the main point of the project at all. The Encyclopedia of Ancient History is a true child of the World Wide Web. It has clearly been conceptualized as an online resource (not simply as a printed text that can be viewed on a computer screen) that will continue to expand and evolve: The electronic form of the EAH will continue to add new articles, indeed new areas of the ancient world; to revise existing ones; and to create spaces for correction and discussion of published articles – even, in line with our conviction of the open-endedness of history, counter-articles… . It will try to represent something of the unsettledness of our disciplines and their vitality. It will continue to evolve as historical studies do. (cxxxvi)
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Brown, Howard Mayer. "Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century." Early Music History 13 (October 1994): 1–63. http://dx.doi.org/10.1017/s0261127900001297.
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By praising rulers, whose magnificence formed a crucial part of the world order, Pierre de Ronsard and his French colleagues in the second half of the sixteenth century often depicted the world not as it was but as it ought to be. This idea informs Margaret McGowan's book on ideal forms in the age of Ronsard, in which she explores the ways poets and painters extolled the virtues and the theatrical magnificence of perfect princes following the Horatian dictum ut pictura poesis: as is painting so is poetry. McGowan demonstrates the virtuosity of the painters and poets of the sixteenth century in shaping their hymns of praise from the subject matter and ideals of ancient Greece and Rome by following Horace's advice to regard paintings as mute poems and poems as speaking pictures. McGowan shows how artists and intellectuals pursued their goals by creating four kinds of ideal form: iconic forms, sacred images derived from classical literary sources offering princes some guarantee of immortality; triumphal forms that evoke the heroic imperial past; ideal forms of beauty to be found in contemplating the beloved; and dancing forms that mirror rituals of celebration. McGowan claims that such ideal forms were intended to enlighten the ruler himself as much as they celebrated his grandeur in the eyes of others.
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Lambert, W. G. "Trees, snakes and gods in ancient Syria and Anatolia." Bulletin of the School of Oriental and African Studies 48, no. 3 (October 1985): 435–51. http://dx.doi.org/10.1017/s0041977x00038428.
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For too long study of ancient Near Eastern representational art and study of possibly related texts have been entirely separate disciplines, the one a branch of archaeology, the other of philology. This accounts for the very scanty results obtained and their frequently questionable character. In the case of Classical Greece and Rome art historians ordinarily command Greek and Latin so as to use written sources at first hand, but Near Eastern archaeologists have commonly been illiterate in their fields of study, while philologists often have limited knowledge of art and use that very amateurishly. Thus it is an occasion for rejoicing that a serious attempt has just been made on some very difficult material from Syria and Anatolia, and that one major break-through has resulted which opens up prospects of fuller understanding of certain aspects of ancient art. The author, E. Williams-Forte, is primarily an art historian with a speciality in ancient Near Eastern seals, and she has taken an interest in Ugaritic to be able to exploit that material. Her Columbia Ph.D. thesis: Mythic cycles: the iconography of the gods of water and weather in Syria and Anatolia during the Middle Bronze Age (ca. 2000–1600 B.C.) has not been published, but a lengthy article derived from parts of it has recently appeared. This starts from the tree and snake in the garden of Eden and investigates their possible Canaanite background. The original observation of major importance is that the storm god of Syria and Anatolia of the first half of the second millennium B.C., Anatolian Tarhunna, Syrian Hadad or Baal, Mesopotamian Adad, occasionally holds up a plant, branch or tree as a symbol.
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Hedreen, Guy. "Image, Text, and Story in the Recovery of Helen." Classical Antiquity 15, no. 1 (April 1, 1996): 152–84. http://dx.doi.org/10.2307/25011034.
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Ancient Greek visual representations of the recovery of Helen by Menelaos are generally thought to depend closely on two distinct poetic sources. This paper argues that this belief is untenable. The principal theoretical assumption underlying it, that there will always be a close fit between ancient Greek poetic and artistic representations of a given story, is not the only conceivable relationship between poetry and art in Archaic and Early Classical Greece. The empirical evidence advanced to support the belief, the occurrence of similar motifs in both the poetic sources and the visual representations, is strained: scholars have read into the pictures motifs or intentions, including nudity and seduction, that are known from literature but have not been given unambiguous visual form in the pictures. This paper argues that the relationship between the artistic and literary representations of the recovery of Helen is much more distant and less direct than most scholars have thought. The same general story underlies all the pictorial representations of the subject in the Archaic and Early Classical periods, but no specific poetic source was necessarily behind the story circulating among the artists. This study draws attention, in particular, to methods of storytelling that are unique to the visual arts. It addresses in detail one of the most striking and problematic aspects of the iconography of the recovery of Helen, the variety of physical settings of the event, and argues that the pictorial elements of setting provide important narrative information that verbal narratives would convey in a different way.
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Maystrenko, Lyudmyla. "THE EXPRESSION OF DESTRUCTIVE LOVE IN OVID’S HEROIDS WITH EMOTIONAL MEANS." Fìlologìčnì traktati 12, no. 1 (2020): 82–89. http://dx.doi.org/10.21272/ftrk.2020.12(1)-8.
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The search of scientists of the XXI century is increasingly focused on a sphere that is not available for direct observation – the sphere of emotions. Therefore, the issue of the emotive component of a literary text at different levels relates to priority areas not only of modern linguistics. Emotions represent the linguistic picture of the artistic universe of the poet, reveal the inner world of his characters. The existential-sensual sphere is a manifestation of the subjective attitude of a person to the surrounding reality and himself in the mental space of the artist. Ovid subtly reproduces the spiritual world of a loving woman in the inexhaustible wealth of emotional manifestations and unique individual identities. The main object of unfortunate love in Heroides is a married woman or hetaera. Ovid is a vivid representative of the sensually-earthly Eros. The ancient man, for whom the idea of sin was extraneous, was not embarrassed by the sensual nature of his love in various forms, focusing all his interest in earthly existence, adored desires. However, the sensual Eros of Heroides with not the happy ending is aesthetically beautiful. Having refused from the usual August poetry themes related to the historical past of Rome or the events of his personal life, Ovid in Heroids turns exclusively to mythological themes, popular in Neo-Téric poetry or Hellenistic poetry, depicting the heroines of Greek mythology and Sappho herself by the psychology of contemporary Roman women. Ovid's Heroides reflects the fact that the psychology of a loving woman has not changed much since the time of the Roman Empire.
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Milosevic, Predrag. "Foundations of Byzantine late middle ages architecture thoughtfulness." Facta universitatis - series: Architecture and Civil Engineering 2, no. 5 (2003): 395–404. http://dx.doi.org/10.2298/fuace0305395m.
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Only in the recent few years have a number of facsimile publications on architecture offered a possibility of studying the original texts from different time periods. Those, already rare studies on the theory of architecture in the western civilization, almost regularly completely omit the Byzantine achievements in the so-called entirety of thoughtfulness (enkyklios paideia), that was a main characteristic of Byzantine learning. This learning, based on the ancient Greek and Hellenistic foundations, in many ways concern architecture, especially the architectural theory. That is why writing a good account of the architectural theory of this, historically such an important country as Byzantium, in such a long historical period (since 312 till 1453), has been a difficult task (this contribution is just the initial part of the study). One should not be disregarded that the architectural theories are never completely independent of historical geographical or even personal prejudices of their authors. In this sense, a subject matter of this treatise is just one 1141 year long part of the architectural theory of the West (West - in civilizational terms, not a political West), the part that rests on Christian foundations that is the Orthodox, Roman Catholic and Protestant ones, mainly. It is all treated in order, from ancient pagan Greece and Rome, ancient and Middle Ages Orthodox Byzantium, until Middle Ages and New Age Europe, altogether, Orthodox, Roman Catholic and Protestant Europe, and then those parts of the world in which the said civilizational circle managed to take root in: parts of Asia, North and South America, parts of Africa and Australia.
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Bridges, Emma, and Joanna Paul. "Reception." Greece and Rome 65, no. 2 (September 17, 2018): 277–82. http://dx.doi.org/10.1017/s0017383518000232.
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The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception studies (including Maria Wyke, Pantelis Michelakis, Alastair Blanshard, and Monica Cyrino), alongside a good number of more junior colleagues, resulting in a varied and rewarding compendium that will provide a useful accompaniment to more detailed explorations of this field. (Some, though not all, chapters offer further reading suggestions, and most are pitched at an accessible level.) The twenty-three contributions span the ‘canonical’ and already widely treated aspects of screen reception, from 1950s Hollywood epics to adaptations of Greek tragedy, as well as ranging across material which has only more recently began to attract the attention it deserves, such as TV documentary, or adaptations for younger audiences. The volume is not as easily navigable as it might be, with the four-part division of the chapters sometimes seeming a little arbitrary. (So, for example, a chapter which discusses ‘The Return of the Genre’ in films like Gladiator appears under the heading ‘Comedy, Drama, and Adaptation’, when it might have been better placed in the first section, on ‘The Development of the Depiction of Ancient Greece and Rome on Screen’.) But rich discussions are not hard to find, especially in those chapters which show how cinematic receptions are indicators of more widely felt concerns relating to our reception of the past, as in Blanshard's assessment of ‘High Art and Low Art Expectations: Ancient Greece in Film and Popular Culture’. Michelakis’ chapter on the early days of cinema is also a valuable distillation of some of his recent work on silent film, crisply and concisely setting out the plurality of approaches that must inform our understanding of the cinematic medium (for example, spectatorship, colour, and relationships to other media). More broadly, the collection makes a solid and welcome attempt to put this pluralism into practice, with Pomeroy stressing ‘the complexity of understanding film’ early in his introduction (3). Chapters focusing on music, and costumes, for example, allow us to see productions ‘in the round’, a panoptical perspective which is still too readily avoided by much classical reception scholarship. (It is also good to see at least one chapter which ranges beyond screen media in the West.) Other vital areas of film and TV studies could arguably have received more attention. Some contributors touch on the importance of assessing audience receptions of these films, or the impact of marketing and other industrial considerations (such as screening practices), but more chapters dedicated to these approaches might have been a more sustained reminder to readers of just how widely screen scholarship can (and often needs to) range. To that end, a particularly significant chapter in the book – one of only 3 by non-Classicists – is Harriet Margolis’ account of how film historians might evaluate ancient world film. Newcomers to this field should pay particular attention to this, and to Pomeroy's introductory comments on how we should regard film as much more than a quasi-literary medium.
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O'Gorman, Francis. "MICHAEL FIELD AND SAPPHIC FAME: “MY DARK-LEAVED LAURELS WILL ENDURE”." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 649–61. http://dx.doi.org/10.1017/s1060150306051369.
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Long Ago(1889), Michael Field's inaugural collection of verse, celebrated Sappho, the ancient poetess of Lesbos. The volume proclaimed the diversity of her sexuality; it saluted verse that was connected to the self; and it urged the authenticity of her creative force in ages beyond her death. Taking surviving fragments of Sapphic writing as embarkation points for new poems in her spirit, Michael Field, the joint pseudonym of the two poets Katherine Bradley (1846–1914) and Edith Cooper (1862–1913), hailed the continuing presence of the Greek in the modern age, drawing the reader back to an imagined version of Sappho's mind and experience, her desires and troubles, of which history held so slight a record. Developing ideas articulated by Robert Browning, particularly in the opening book ofThe Ring and the Book(1868–69),Long Agodiscerned in poetry a way of regenerating the energy – or of creating the illusion of such regeneration – of an almost-lost, but indisputably authentic person from the ancient Mediterranean. The volume privileged a post-Romantic assumption about the signal importance of the self behind writing, the complexities and contradictions of which I explore here, and it understood modern poetry's dealings with a nearly vanished Greece as recuperative of a nearly disappeared artist. As such,Long Agoimplicitly imagined the work of the contemporary poet as, to use Robert Browning's word, a matter of “galvanism” (Browning I.740): the calling back into the present of the lost forms of distant lives.
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Burmistrov, Sergey L. "On One Intercultural Parallel in the Philosophy of Language: Humboldt, Emerson, Bhartrhari." Vestnik Tomskogo gosudarstvennogo universiteta, no. 458 (2020): 60–71. http://dx.doi.org/10.17223/15617793/458/7.
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The aim of the study was to reveal the cause of the noteworthy resemblance between Wilhelm von Humboldt’s view of the nature of language, the conception of poetry in American Romanticism, and the philosophy of language in early Vedānta (Bhartṛhari, 5th century AD) that demonstrates a non-accidental affinity of the views on the associations of language and poetry between Indian and Western cultures. Five tasks were set for solving the problem: (1) to reveal the basic principles of Humboldt’s conception of language; (2) to explicate the basic traits of Ralf Emerson’s views on the nature of poetry; (3) to discover their common source; (4) to reveal the fundamental principles of Bhartṛhari’s conception of language; (5) to define the common cultural basis of these conceptions. The study was based on the works by Humboldt, Emerson, Plato, on Bhartṛhari’s treatise Vākyapadīya, and on modern works on shamanism. The principal methods of the study were: (1) a hermeneutic method, presupposing that any term of a philosophical treatise is treated as an integral part of the conception explicated; (2) a comparative historical method based on the analysis of the context where a phenomenon of culture took place; and (3) a comparative philosophical method based on the explication and definition of fundamental concepts of theories in comparison, their origin, place of each concept in its system, and function of each system in the general cultural context. Humboldt treated language as a product of a human need for a semantic organization of the world. Language in his philosophy is a primary manifestation of Volksgeist (people’s spirit) generating firstly the language specific for it, and the language forms the basis for any other aspects of culture. Emerson’s Over-Soul also reveals itself as an inner need that must be verbalized to become conscious. Self-reliance is necessary for human to hear the inner voice of Over-Soul. The poet for Emerson is a person whose inner hearing is more acute than that of other people, and this allows him to hear the voice of Over-Soul more clearly and transform it to words that can be apprehended by common people. The poet in his creative activity can perform only the inspirations of Over-Soul. Both these theories go back to Ancient Greece with its peculiar interpretation of poetic works as induced not by the will of a poet himself, but by a supernatural power. Similar ideas were elaborated in ancient Indian philosophy. According to Bhartṛhari, Brahman is an eternal Sacred Speech that creates the world. Any real language is a partial and scanty form of this Sacred Speech audible only for prophets (ṛṣi) having a “supernatural ear” (divya-śrotra). The conclusion of the study is that Humboldt’s and Emerson’s conceptions go back to Ancient Greek view of poetry as inspired by a supernatural power that cannot be controlled consciously, and this view, together with Bhartṛhari’s theory, has roots in the idea of the magical character of poetry, peculiar to ancient cultures.
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Ivory, Yvonne. "WILDE'S RENAISSANCE: POISON, PASSION, AND PERSONALITY." Victorian Literature and Culture 35, no. 2 (June 29, 2007): 517–36. http://dx.doi.org/10.1017/s1060150307051613.
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IN 1877,AS AN OXFORD UNDERGRADUATE, Oscar Wilde was invited to fill out two pages of a “Confession Album,” an informal survey of his likes, dislikes, ambitions, and fears. Wilde's answers testify to his deep appreciation for all things Greek: his favorite authors include Plato, Sappho, and Theocritus; he would hate to part with his Euripides; he admires Alexander the Great. But when faced with a question regarding the place he would most like to live, Wilde chooses not Athens or Argos but “Florence and Rome”; and when asked about the historical period in which he would most liked to have lived, Wilde opts for “the Italian Renaissance” (Holland 44–45). As there was no room on the form for Wilde to expand on this statement, we can only speculate as to why he saw Renaissance Italy as a time and a place in which he would have felt at home. But what the response tells us for certain is that while he was at Oxford, Wilde found the culture ofQuattro- andCinquecentoItaly particularly appealing, was comfortable imagining himself as part of that period, and was prepared to acknowledge his enthusiasm for the period to his friends. Moreover, it shows that while Wilde may have treasured the cultural artifacts of ancient Greece as a young man, he was more eager to experience the whole way of life captured in the idea of the Italian Renaissance.
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Harris, Lynda. "Visions of the Milky Way in the West: The Greco-Roman and Medieval Periods." Culture and Cosmos 16, no. 1 and 2 (October 2012): 271–82. http://dx.doi.org/10.46472/cc.01216.0245.
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Before the new Greek cosmological system was developed, many ancient cultures had pictured the Milky Way as a vertical axis or tree, which was seen as a route leading into the heavens of a layered universe. This model began to change from about the sixth century BC, when the image of a spherical earth and geocentric universe became increasingly widespread among the educated people of Greece. The new model, standardised by Ptolemy during the second century AD, visualised a universe comprised of eight concentric crystalline spheres surrounding a fixed earth. By the Middle Ages, the Ptolemaic system had become the established picture of the cosmos in Europe and the Islamic world. Losing its old vertical image, the Milky Way was now pictured as a circular band surrounding the spherical earth. Now known as the Milky Circle, it kept something of its earlier religious significance in the pagan world. In Rome it was visualised as a post-mortem place of purification, located below the sphere of the moon. With the establishment of traditional Christianity, the Milky Way’s position became unclear. It had always been a scientific puzzle to thinkers trying to analyse its substance and define its place in the Ptolemaic universe, and its true nature remained unresolved. In one of its most intriguing identities, originated by the thirteenth century astrologer Michael Scot, it migrated to the sphere of the fixed stars where it became a mysterious, living constellation, known as the Daemon Meridianus.
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ." World Science 3, no. 8(48) (August 31, 2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.
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Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his interest in European civilization and artistic attainment. On the other hand, he tends to synthesize arts. As you know, the phenomenon of synthesis of the arts also comes from antiquity. According to the Greek mythology, Parnassus is the home of gods and also the residence of the nine muses – the patronesses of arts and sciences.The first piece «Clio» (the muse of history) is aimed at improvisation. At the same time the author accompanies every miniature with remarks concerning instrumentation, manner, tempo, rhythm, provides detailed notes as to the sound dynamics, etc.The second piece «Euterpe» (the muse of lyrical poetry and music) is marked by the lack of lilt organization. Music theme has abundant rhythmics, abrupt texture and dynamic changes.The third and the fourth pieces «Thalia» (the muse of comedy) and «Melpomene» (the muse of tragedy) expose quite the opposite images and emotions of the Greek theatre genres. However, the composer applies means of humorous and tragic music spheres of different epochs.The fifth piece «Polyhymnia» (the muse of sacred poetry and pantomime) is based on the intonations of antique chants. Melody develops gradually, has narrow range, but in the middle of the piece reaches significant dramatic effect. The sixth miniature «Urania» (the muse of astronomy) is the illustration of a starry night. Quiet and peaceful sounding dominates, short motives are directed upwards.In the seventh piece «Terpsichore» (the muse of dance and choral singing), with the help of antiphonous sounding of imaginary male and female groups of singers, the author reproduces the model of an ancient syncretic roundelay. The eighth miniature «Erato» (the muse of love lyrics) resembles the second piece (Euterpe) in images’ character and exposition.The last piece «Calliope» (the muse of epos) reflects V. Manyk’s aspiration to generalize the contents of the entire cycle. That’s why short reminiscences of all previous pieces are quite prominent here.The cycle of short miniatures is enriched with the wide range of historic, cultural and even philosophical connotations. Programme plot embodies by means of expression such as improvisation of musical texture, s broad range articulation, characteristic contrast melodies and motifs, the uniqueness semantic structure work.