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1
Gromov, Mikhail N. "Methodology of the Study of Ancient Russian Art and Culture." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 269–78. http://dx.doi.org/10.37816/2073-9567-2022-65-269-278.
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Old Russian art and Old Russian philosophy have many similar typological features. Therefore, the consideration of ancient Russian art, from a philosophical point of view, has a certain methodological significance. Old Russian texts can be divided into three groups according to the degree of saturation of their philosophical and aesthetic content. The first group consists of the most serious books, including: “The source of knowledge” by John of Damascus, “Dioptra” by Philip the Hermit, “The logic of Aviasaph” and a number of others. The second group, the most numerous, includes the works of Metropolitan Hilarion, Maxim the Greek, Cyril of Turov, some Apocrypha and other works. The third group includes monuments of business writing. The works of the second group require careful textual study. In addition to monuments of writing, it is important to consider non-verbal sources: monuments of painting, architecture, and small plastic art. In the whole, all of them provide a general yet clear overview of the Old Russian art.
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Stepovyk, Dmytro. "THE ART OF STAINED GLASS BRINGS UKRAINIAN AND POLISH CULTURES TOGETHER (WORKS BY ADAM DOBRZAŃSKI)." Polish Studies of Kyiv, no. 36 (2020): 298–311. http://dx.doi.org/10.17721/psk.2020.36.298-311.
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The article highlights the unique work of a prominent Polish master of monumental art, the author of numerous stained glass windows, murals and mosaics of the temples of Poland by Adam Stalony-Dobrzanski (1904-1985), whose father Felix Dobrzanski is a Pole, and mother Anna Kovalenko, a native of Chernihiv, Ukrainian. Dobrzanski spent his youth in Ukraine, and in 1923 he moved with his parents to the restored Polish state; He graduated from the Cracow Academy of Arts and began working in the field of artistic design of Catholic churches, Greek Catholic and Orthodox temples. Feature of Dobzhansky’s creative style is a harmonious combination of ancient medieval Gothic style with the latest styles of Impressionism, Modernism and others; as well as the introduction of inscriptions with the original letter form as an integral part of the stained glass image system. Another noticeable feature of the stained glass windows of Adam Steglovy Dobzhan is the harmony of large and small forms. Of course, he is born, as they say, a monumentalist in the arts. There is greatness in his works. The elongated window openings of the Orthodox, Greek Catholic churches and Roman Catholic churches required verticality. Therefore, this architecture is completely approached by long Gothic stained glass figures. But Dobzhansky would not be Dobzhansky if his age were confined to the composition of tall, sometimes tall, figures. In every large and tall form, he “streams” with many small glasses, in which he writes texts in Latin or Cyrillic letters. This flamboyant scattering of small shapes moves and shimmers like a kaleidoscope, enlivening the statics of the stained glass central figure. Here Dobzhansky presents his knowledge of stained glass. Middle Ages in the Catholic countries of the West, which still amaze the beauty of their kaleidoscopic overflows. There is, of course, a contrast between the large in size and these tiny multicolored glasses. This contrast sends the viewer to the baroque, which maximized the contrast in the riot of flexible forms. These forms do not exist in Mr. Adam’s stained-glass windows, but his contrasts reflect the breadth of the search, a master who crafted his unique language in the field of ancient and modern art styles in the ancient and eternally young stained glass art.
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Tsichla, Markella-Elpida. "Greek Revolution and Art. The protagonists on Marble. Illustrative and Typological Specimens." Advances in Social Science and Culture 3, no. 2 (March 18, 2021): p26. http://dx.doi.org/10.22158/assc.v3n2p26.
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The Greek Revolution of 1821 was one of the most important issues in Europe of the early 19th century on a political and military level. The outbreak of the Greek Revolution was not supported by the Great Powers of the time, since as a liberation struggle it violated the terms of the Holy Alliance (1815), however it managed to prevail thanks to the support of the people of Europe as they regarded this an effort of a small nation to claim its freedom and oppose to slavery and authoritarianism. After all, we are in the time of Romanticism and this kind of struggle enjoyed the support of intellectuals, collectives, and different groups of citizens. Philhellenism was on the rise, and painters like Delacroix made a huge impact with works that made a strong impression on Europe. After the success of the Revolution, many foreign artists came to Greece, some on their own initiative as travelers and others carrying out their King’s orders. Some of them were painters (both amateur and professional) that painted live portraits of the leading figures of the Revolution, leaving behind a remarkable oeuvre when seen from a historical, factual, and artistic point of view. And since at that point in Greece there could be no room for domestic artistic creation, the work of these artists is considered particularly important in terms of portraiture, history, facts, and artistic value. The most important out of the painters that were in Greece at that critical time are the Bavarians Karl Krazeisen and Peter von Hess, who painted portraits of Greek fighters and these portraits have since become the blueprints that other artists, painters, and sculptors based their work on resulting in the perpetuation of the historical memory.It is worth mentioning that in the 200 years of independence these works remain of enduring value when paying tribute and respect to the first martyrs of the Greek Struggle.
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Aksamitowski, Andrzej. "The Greek army at Troy and its logistics . Based on the “Catalog of ships” called “Boeotia” from the second book of Homer’s Iliad." Reality of Politics 24, no. 2 (2023): 7–27. http://dx.doi.org/10.15804/rop2023201.
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The author showed a fragment of the Iliad referred to as the Catalogue of Ships, also called Beotia (Bojotia). The name of this part comes from the Beots, whose troops, arriving at Troy, were listed in the Catalogue as the first. The list contains in-formations about the Greek armed forces, rulers and chiefs of the Greek peoples who took part in the naval expedition and the war against the Trojans. It also determines the number of ships brought by the Greeks to Troy. Eager to go to war, they put themselves in Beocia near the city of Aulis where, on the Strait of Eurypus, a large port was located. It can also be assumed that the Catalogue of Greek troops begins with the army of Beocia because the ports of this land were chosen as the place of concentration of troops for the expedition against Troy. A collection of works called the Trojan Cycle was also characterized, which includes 29 books and from which only small fragments (epitomai) and summaries in the so-called Chrestomatia have survived. Despite such poor literature, they are an important source in reproducing the content of the Trojan cycle. The passage showing the Achaean army at Troy, which is a list of Greek nobility, is often omitted in the editions of the Iliad. However, for those studying the art of war, it is an extremely important record of Europe’s past.
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Γαλανάκης, Αθανάσιος Β. "Yvan Goll – Ε. Χ. Γονατάς: Προς μια συγκριτική ποιητική." Σύγκριση 26 (February 25, 2018): 11. http://dx.doi.org/10.12681/comparison.11120.
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This study aims to explore the relationship between the works of Yvan Goll and E. Ch. Gonatas. More specifically, the main purpose of the study is to highlight the role played by the Expressionist Movement (in which Yvan Goll was an active member) in the literary works of E. Ch. Gonatas. The methodological tools of Comparative Literature and Hermeneutics are used to prove the close relationship between the two authors and the expressionistic texture of their art. In the first part, the study is concerned with the expressionistic imagery, the poetics of landscape, the use of colors and the symbolization of nature (especially through the motif of the humanization of animals). The second part deals with the influence of Expressionism on the mutability of the literary genres, the generic hybridization in the work of E. Ch. Gonatas and the small literary form.The main objectives of the study are: i) A heuristic report of the presence of Expressionism in Modern Greek Literature (especially in the post-surrealistic movement), ii) the clarification of certain aspects in Gonatas' poetics and iii) the acquaintance with the work of the major poet but unknown to the Greek general public, Yvan Goll.
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Harloe, Katherine. "Allusion and ekphrasis in Winckelmann's Paris description of the Apollo Belvedere." Cambridge Classical Journal 53 (2007): 229–52. http://dx.doi.org/10.1017/s1750270500000129.
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As Vout (2006) has recently reminded us in this journal, Johann Joachim Winckelmann's History of the art of antiquity (Geschichte der Kunst des Alterthums, 1st ed. 1764) is widely considered to be a foundational text in the history of art. Advertising itself as the first ‘systematic’ account of ancient art in relation to its geographical, social and political circumstances, Winckelmann filled out the well-known Plinian chronology of artists with a new analysis in terms of a succession of period styles, providing a satisfyingly scientific justification for the preference his contemporaries were beginning to accord to the art of the Greeks. Small wonder then that the book was lauded as a classic as soon as it appeared in Germany and was quickly translated into French and Italian. Nevertheless, it is also hardly surprising that this text, which promised nothing less than a ‘new paradigm’ for the study of antique culture, has always presented problems to its readers. These are partly caused by its magnitude of ambition. Titled, first and foremost, a ‘history’, Winckelmann's magnum opus in fact attempts to be many things: part systematic exploration of the social and physical factors that condition the development of all art; part impassioned disquisition on the essence of beauty; part antiquarian catalogue of the greatest surviving works of Greek and Roman art; part manual of aesthetic taste for aspiring contemporary artists. Few books since Winckelmann's History can have combined bold claims about their importance as historical scholarship with detailed instructions on how to draw a perfectly beautiful face.
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Prati, Silvia, Francesca Volpi, Raffaella Fontana, Paola Galletti, Loris Giorgini, Rocco Mazzeo, Laura Mazzocchetti, Chiara Samorì, Giorgia Sciutto, and Emilio Tagliavini. "Sustainability in art conservation: a novel bio-based organogel for the cleaning of water sensitive works of art." Pure and Applied Chemistry 90, no. 2 (February 23, 2018): 239–51. http://dx.doi.org/10.1515/pac-2017-0507.
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Abstract Organo- and hydrogels have been proposed in the restoration field to treat different types of surfaces. The possibility to retain solvents and to have a controlled and superficial action allowed to use these materials for the removal of very thin layers applied on ancient historical objects, when the under paint layers are particularly delicate and water sensitive. In the last years, an increased attention has been devoted to the proposal of more healthy products to guarantee the safeguard of the operators. Few attention has been devoted to the development of green methods which foresee the use of renewable and biodegradable materials. The aim of this paper is to test a green organo-gel for the cleaning of water sensitive surfaces like varnished egg tempera paintings. The gel has been tested experimented on mock ups varnished with natural and synthetic materials and has been validated on a small portion of a Cimabue painting for the removal of two varnishes applied on two different test areas of the painting.
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Waibel, Violetta L. "Light is Space." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 76–92. http://dx.doi.org/10.1515/yewph-2018-0007.
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AbstractThe sculptor Olafur Eliasson produces works together with his team that have two main goals: first, he intends to sensitize our daily perception of the world and our surroundings, and second, Eliasson’s works are not only works of art, but they also explore nature, the physical properties of light, of energy, of water, and other elements. With the famous project Little Suns, small plastic lamps with LED light bulbs and solar cells, he contributes to the amelioration of daily life for those who do not have access to electricity even today. In other works he focuses on elementary phenomena such as the movement of elements in a vortex of water or air, on the properties of light, of mirrored light, or the fascinating world of kaleidoscopes. Some of these works are very popular and often include visitors such as the Weather Project in the Turbine Hall of the Tate Modern in London created in 2003. This work is said to have provoked spontaneous meetings, celebrations, and even episodes of civil protest. The work turned the museum into a kind of agora, the public square in Ancient Greek cities that was at the heart of daily life, of politics, of democratic practices.
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Bagautdinova, Gulzada. "SEMANTICS AND POETICS OF THE TITLE OF I. A. GONCHAROV’S ESSAY “THE VICISSITUDE OF FATE”." Проблемы исторической поэтики 21, no. 3 (July 2023): 80–96. http://dx.doi.org/10.15393/j9.art.2023.12763.
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For the first time, the article analyzes the structural, semantic, pragmatic aspects of the poetics of the title “The Vicissitude of Fate” by I. A. Goncharov. The title is an explicitly integral part of the framework text. In addition, the expression “vicissitude of fate” is structured and implicit, since it is included in the main content of the work. The phrase “vicissitude of fate” is endowed with stable semantic features, which were reflected in the works of other 19th-century writers: I. I. Lazhechnikov, N. V. Gogol, A. N. Ostrovsky, M. E. Saltykov-Shchedrin, V. M. Garshin, D. N. Mamina-Sibiryak, A. P. Chekhov. The plot twists and turns that determine the development of the plot of I. A. Goncharov’s work are comparable to dramaturgical literature. However, Leonty Khabarov’s destiny is determined not by the ancient Greek fate, but by God’s providence. The motif of fate, which is the leitmotif of I. A. Goncharov’s “Vicissitude of Fate,” allows us to interpret the image of Leonty Khabarov in comparison with the Young Man from the Old Russian “Tale of Woe-Wickedness.” Unlike the Young Man from The Tale of Woe and Wickedness, who can and must find salvation for his soul only outside the walls of the monastery, Leonty Khabarov finds blissful salvation in worldly life thanks to the miraculous intervention of the Mother of God, to whom he prayed in the Kazan Cathedral of St. Petersburg. The final plot twists and turns that led Leonty Khabarov from misfortune to a happy, thriving, prosperous life are due to the Miracle motif. Khabarov’s first name is Leonty, and the motif of fate creates an association between the “small” epic prose of I. A. Goncharov — “The Vicissitude of Fate” — and the novel “The Cliff.” The writer uses the artistic technique of autocitation, which is found in many of his works.
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Kikioni, Eirini, and Makrina-Nina Zafiri. "The Application of Art in the Enhancement of Speaking Skills in Greek State Primary School Students of Pre-A1 Level." International Journal on Integrating Technology in Education 10, no. 4 (December 31, 2021): 37–54. http://dx.doi.org/10.5121/ijite.2021.10404.
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The findings show that visual arts-based instruction positively impacts learners' oracy abilities, vocabulary development, and formulaic assimilation. Art has always been a potent medium for teachers of all subjects contributing to learners’ social, emotional, intellectual and physical evolution. However, it often becomes subjugated and considered as unnecessary and extracurricular. The particular research aims at exploring the ways Art can be integrated into the first grade of Greek State Primary School curriculum for English language learning and exploited for the benefit of young learners. More specifically, this research aims to investigate whether art, and particularly visual arts, can emerge as an invaluable tool which will enhance instruction for the learning of English as a foreign language, thus triggering motivation which will lead to young learners’ enhancement of their speaking skills. In addition to this, this research explores the effects of visual arts-based instruction on vocabulary, and language chunks development, through young learners’ engagement in a number of multisensory tasks deriving from works of art presented to them. For this reason, action research was carried out among thirty-two first grade learners of a state primary school in Greece, who were divided into two groups, a control and an experimental group. The information obtained through both quantitative and qualitative tools of data collection will be exploited for this research as they can prove that the participants of the experimental group improved substantially concerning all the three variables compared to the participants of the control group. The results of this small-case research cannot be disregarded as they indicate that the use of visual arts can have a considerably positive effect on young learners’ receptive and productive oracy skills.
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Bidar, Aminullah, Mhabobullah Rohani, Dost Mohammad Balkhi, and Gulaqa Anwari. "A Study of Pre-Islamic Religions in Afghanistan." International Journal of Social Science Research and Review 6, no. 7 (August 8, 2023): 517–30. http://dx.doi.org/10.47814/ijssrr.v6i7.1321.
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The magical and vast nature of Afghanistan has been one of the most essential factors in the implementation of strategic plans of great powers throughout history in this part of the world including its strong economy in the Middle Ages and the tall mountain ranges, plains, and flats, desert areas, rivers and the special geopolitical situation showed the magnificence of the country to the explorers. Therefore, yesterday's Khorasan and today's Afghanistan hosted them at certain times, and the powers came and went, or they were dissolved among the native people with their cultural and ideological mixing. The arrival of pre-Islamic religions is one of the consequences of those movements, whose remains include golden cups from the treasure of Flaul Hill, Greek works of Ai Khanum, vases with Roman sheaves, small Indian plates found in Bagram, and luxurious jewelry. Tala Tepe and thousands of other remains talk about the artistic, cultural, and religious mixing of this ancient region. Receiving works from many places such as Hoda, Bamiyan, Bakhtar, Gandhara region, etc. in Afghanistan is a clear expression of the existence of Greek-Bactrian civilization and the spread of Greek culture and ideas with our religious mixtures, before the spread of the holy religion of Islam, as Gandhara was the main route of trade caravans and the passage of Buddhist missionaries to the eastern lands of the country, it was considered the first place to build Buddhist statues. In Bamiyan, Salsal is 55 meters high and Shamameh is 35 meters high, and it stamps the seal of Buddhism on the forehead of the time. The art of high-quality paintings indicates the existence of another religion called the religion of Mani, which was inspired by the Indo-Greek style in the spirit of the industry of the Sassanid period. Shivaism and Brahmanism in Kabul and the coronation of Rayan Kabuli in the region of Shiyuki (Shiva's place) and Andaki (Andra's place) in the southwest of current Kabul, and Shiyuki idols of Shiva and Andaki idols of Indra and Brahma existed because these two are considered to be the lords of the Brahmins. Here still possible to visit those places and hold special ceremonies there, which indicates the existence of this religion in Afghanistan before Islam.
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Nikolenko, Olha. "FORMS OF INTERTEXT IN “ANNE OF GREEN GABLES” BY L.M. MONTGOMERY." Scientific Journal of Polonia University 60, no. 5 (December 14, 2023): 107–16. http://dx.doi.org/10.23856/6012.
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This paper analyzes different forms of intertext (biblical, artistic, and mythological) in L.M. Montgomery’s bestselling novel Anne of Green Gables in order to determine the novel’s intertextual connections with various phenomena of literature and art, and explore how the meanings of these intertextual elements are transformed in Anne of Green Gables as opposed to their original sources. While the plot of Anne Shirley’s growing up unravels locally (in a small Canadian town named Avonlea), it is also part of a broader cultural context, which is represented largely by intertextual means (direct and indirect quotations, allusions to the works by R. Browning, H.C. Andersen, W. Shakespeare, L. Carroll, W. Scott et al.). In this way, the author emphasizes Anne’s romantic worldview, her open-mindedness and vivid interest in literature, art and nature. By referencing the works of W. Shakespeare and S.T. Coleridge, L.M. Montgomery aims to further illustrate the motive of loneliness and abandonment as they are related to her heroine’s story (having lost her parents and spent the majority of her life in an orphan asylum). Biblical intertext also plays an important role when it comes to the relationship between Anne Shirley and Matthew Cuthbert. Different forms of intertext (literary, biblical, mythological) fulfil important functions in the text, especially in terms of creating multi-faceted characters, the social and cultural atmosphere of L.M. Montgomery’s era, and the various problems (social, moral, and artistic) discussed in her works.
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Lee, Su-Min, and Sun-Hyoung Kim. "A Study on Color hanji hair Art Using Waste Hair." Journal of the Korean Society of Cosmetology 29, no. 6 (December 31, 2023): 1589–600. http://dx.doi.org/10.52660/jksc.2023.29.6.1589.
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This study re-examined the new material diversity of hair art as a discipline by looking at hair art, which was limited to practical and pictorial, from aesthetic and environmental aspects. By reinterpreting the functions of lung hair and Korean paper to create hair art works, it aims to enable the possibility of new household product design and eco-friendly and original material-based artistic creative activities. To conduct this study, the results of the study of producing a total of four paper flower frames by producing colored paper are as follows. Work 1 was created using a red and pink paper with roses as a motif, arranging petals, making small leaves with green colored paper, and then using a LED bulb with an object. Work 2 expresses carnations by overlapping pink colored paper with different chroma as a motif of carnations, making small flowers with white, yellow, and light green colored paper, and then using Led bulbs with objects. Work 3 was made using pink purple and orange colored paper as a motif of hydrangea, made leaves with green paper, and then made using Led bulbs with objects. Work 4 was made using white, pink, and red colored paper as a motif of cosmos, made leaves with green paper, and then made using Led bulbs with objects. This study is the starting point for the development of special paper made using Korean paper and lung hair, and it is believed that starting with this study, hair art design based on new creative materials will be developed. Pursuit research is expected to enrich the design of special papers applied with lung hair with the potential to apply nature-friendly and sustainable material alternatives.
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Казакова, А. Ю. "Green History: Polish Experience of Musealisation of Landscape Art Heritage." Nasledie Vekov, no. 1(29) (March 31, 2022): 87–96. http://dx.doi.org/10.36343/sb.2022.29.1.009.
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Рецензия призвана познакомить отечественного читателя с практически не развитой в России формой актуализации культурного потенциала исторических садов и парков, которая представляет собой их превращение в объекты самостоятельного музейного показа. Работа польского специалиста по музеефикации зеленых насаждений анализируется с точки зрения возможностей компаративного анализа состава, использования и сохранности садового культурного наследия как национального, так и регионального уровней; роли, доли и места памятников садово-паркового искусства и исторически ценных озелененных территорий в культурной политике государства и потребностей населения (туристических, оздоровительных, рекреационных, досуговых, образовательных и иных), перспектив исследования взаимоотношений между элитарной и массовой культурой садоводства и ландшафтного дизайна. The review presents the experience of musealisation of objects of landscape and park cultural heritage summarized in the books of Jacek Kuśmierski, who is a Polish specialist in the field of conservation and restoration of green spaces of historical value. The books were published in 2020 and 2021 by the Foundation for the Reconstruction of the “Dwór Sarny” Palace and Park Complex, located in the village of Ścinawka Górna in Lower Silesia (Republic of Poland). The time was chosen to coincide with the certification in 2020 by the Council of Europe of the European Route of Historical Gardens, in which Kuśmierski sees great international, tourist, nature conservationб and culture-preserving importance. Since specialized descriptions of historical gardens and parks as independent objects of musealisation, museum and tourist display are still rare not only in domestic but also in European literature, small works by Kuśmierski have indisputable novelty and practical value. Mapping of historical gardens of Europe and garden museums, classification of types of garden heritage and forms of their musealisation open up broad prospects for comparative research and understanding of the structure, levels, functions of “high” and “low” garden culture in Russia and abroad. The historiography of the scientific analysis of the problem of musealisation of green spaces and the periods of the formation of the institutional framework of this process in Europe that the author identified determine the theoretical significance of the work. The book is addressed to specialists in museum business. It can also be useful to persons who study the problems of forming a favorable urban environment, the potential of the socioeconomic development of territories, and determines the guidelines of urban development. The preservation of cultural heritage objects and the conditions that can ensure it are independent and extremely urgent problems for Russia. They indicate the value of familiarization with the European experience of protecting historically valuable green spaces for specialists in the field of jurisprudence, state and municipal management. Kuśmierski’s works suggest the need to revise the priorities of the state cultural policy in the field of cultural heritage protection. This policy should shift towards the “musealisation of the world”. Kuśmierski characterizes “musealisation of the world” as a pan-European sociocultural trend of increasing the value of historical memory, as efforts to ensure the preservation of not only an isolated artifact, but its entire unique ecosystem as a complex of elements of natural, tangible and intangible cultural heritage.
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Ford, Philip. "Homer in the French Renaissance*." Renaissance Quarterly 59, no. 1 (2006): 1–28. http://dx.doi.org/10.1353/ren.2008.0159.
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AbstractAlthough the works of Homer remained unknown in Western Europe for much of the Middle Ages, their reappearance was welcomed enthusiastically in France toward the end of the fifteenth century by the small band of scholars capable of reading Greek. The founding of the Collège des lecteurs royaux in 1530 gave a fillip to Homeric studies, and partial editions of Homer were printed in Paris, aimed at a student audience. French translations also helped to bring the poems to a wider audience. However, the question of the interpretation of Homer was central to the reception of the two epics, and, after examining the publishing history, this paper sets out to assess how succeeding generations of scholars set about reading and teaching the prince of poets.
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Levko, Oleksandr, and Yuliia Chukhno. "Verbal Representation of Misogynistic Ideas in Ancient Greek Proverbs." Studia Linguistica, no. 13 (2018): 173–83. http://dx.doi.org/10.17721/studling2018.13.173-183.
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The article deals with Ancient Greek aphorisms and gnomes representing the notion of woman, with a particular focus on the proverbs with misogynistic meaning. As a result of our analysis, it was found out that out of four thousand Ancient Greek proverbs under study only sixty-five units verbalize the notion of woman, making up 1.6% of the total count. Some of these proverbs represent the idea of female character, while others are related to the social role of women as wives. It is determined that the proverbs under study reveal the misogynistic perception of woman through the prism of a masculine point of view. The proverbs convey the idea of feminine nature’s imperfection and the deficiency of feminine character. Women come across as unrestrained, talkative, treacherous, insidious, cunning, vindictive, greedy, that is, as ones who constantly threaten the mental balance and the possessions of their husbands. “Woman” and “femininity” are envisaged as attributes of defective character traits. As a result of the analysis of the lingual material, it was concluded that the negative features attributed to the female nature are trickery, deceitfulness, frivolity, vengeance, authoritativeness, fierceness, talkativeness, intrusiveness, envy, laziness, cowardice, greed, vulgarity, indecision, shamelessness, temptation, boastfulness, unfairness and inability to manage the household. Only a small number of the proverbs under study convey the idea of marriage and the role of women as wives and mistresses of the house. Marriage is only a forced act for a man, which has as a purpose the birth of rightful citizens of the polis. Therefore, a woman in Ancient Greek lingual model of the world appears as καλὸν κακόν “good / necessary evil” in view of her role in procreation. The study reveals that the origins of misogynistic ideas can be traced back to mythical Pandora, who was considered to be responsible for the inception of the world’s evil and suffering of humanity. Misogynistic notions are also common in fiction, as well as philosophical and medical literature of Ancient Greece. In the works of Aristotle and Hippocrates, the inequality of women and men is substantiated. A woman is seen as inferior to man, which is allegedly evident in the mental nature of each, as well as the structure of their bodies and even their role in the childbirth.
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Riza, Nabeel A., Mohsin A. Mazhar, and Nazim Ashraf. "Solar Limb Darkening Color Imaging of the Sun with the Extreme Brightness Capability CAOS Camera." London Imaging Meeting 2020, no. 1 (September 29, 2020): 69–73. http://dx.doi.org/10.2352/issn.2694-118x.2020.lim-07.
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Experimentally demonstrated for the first time is Coded Access Optical Sensor (CAOS) camera-based imaging of the Sun. Only by using both the shortest 0.029 ms integration time of the scientific CMOS sensor and a very large factor of 10,000 optical attenuation at the entrance of the CMOS camera, one is able to produce the desired unsaturated image of the Sun. In sharp contrast, a small factor of 3.2 optical attenuation is required over a much smaller single photo-detector zone of the CAOS camera to capture the unsaturated Sun image, including color images obtained using red, green, and blue filters. Image data processing shows that both the CMOS camera and CAOS camera show similar Sun limb darkening measurements consistent with prior-art works. The CAOS camera empowers optically and operationally efficient full spectrum (e. g., 350 nm to 2700 nm) imaging of bright heavenly bodies in space, with the potential for creating impact for solar energy farms, space navigation, space exploration and astronomical science.
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Jones, Russell E., and Ravi Sharma. "VIRTUE AND SELF-INTEREST IN XENOPHON’S MEMORABILIA 3.9.4–5." Classical Quarterly 68, no. 1 (May 2018): 79–90. http://dx.doi.org/10.1017/s0009838818000125.
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Are people at bottom motivated entirely by self-interest? Or do they act only sometimes out of self-interest, and sometimes for other reasons—say, to help out a friend for her own sake, with no expectation of being benefitted in return? Scholars have often thought they could discern in the works of classical Greek thinkers a commitment to psychological egoism, the thesis that one is motivated to act only by considerations of the expected benefits and harms that will accrue to oneself. For instance, a host of influential interpreters have taken Plato to be wedded to psychological egoism throughout his corpus. Often, the commitment is thought to run so deep that Plato rarely, if ever, manages to articulate it explicitly, let alone to examine it critically and defend it. That kind of approach obviously invites challenges, and lately there has been a small but growing resistance to the egoistic interpretation of Plato. The challenges are especially welcome given the general lack of support for psychological egoism in the present intellectual climate: egoistic readings have increasingly seemed to imply a crippling weakness in the Platonic system.
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Vargyas, Zsófia. "Adalékok Marczibányi István (1752–1810) műgyűjteményének történetéhez." Művészettörténeti Értesítő 71, no. 1 (May 24, 2023): 45–78. http://dx.doi.org/10.1556/080.2022.00003.
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The art collection of István Marczibányi (1752–1810), remembered as the benefactor of the Hungarian nation, who devoted a great part of his fortune to religious, educational, scientific and social goals, is generally known as a collection of ‘national Antiquities’ of Hungary. This opinion was already widespread in Hungarian publicity at the beginning of the 19th century, when Marczibányi pledged that he would enrich the collection of the prospective Hungarian national Museum with his artworks. But the description of his collection in Pál Wallaszky’s book Conspectus reipublicae litterariae in Hungaria published in 1808 testifies to the diversity and international character of the collection. In the Marczibányi “treasury”, divided into fourteen units, in addition to a rich cabinet for coins and medals there were mosaics, sculptures, drinking vessels, filigree-adorned goldsmiths’ works, weapons, Chinese art objects, gemstones and objects carved from them (buttons, cameos, caskets and vases), diverse marble monuments and copper engravings. Picking, for example, the set of sculptures, we find ancient Egyptian, Greek and Ro man pieces as well as mediaeval and modern masterpieces arranged by materials.After the collector’s death, his younger brother Imre Marczibányi (1755–1826) and his nephews Márton (1784–1834), János (1786–1830), and Antal (1793–1872) jointly inherited the collection housed in a palace in dísz tér (Parade Square) in Buda. In 1811, acting on the promise of the deceased, the family donated a selection of artworks to the national Museum: 276 cut gems, 9 Roman and Byzantine imperial gold coins, 35 silver coins and more than fifty antiquities and rarities including 17th and 18th-century goldsmiths’ works, Chinese soap-stone statuettes, ivory carvings, weapons and a South Italian red-figure vase, too. However, this donation did not remain intact as one entity. With the emergence of various specialized museums in the last third of the 19th century, a lot of artworks had been transferred to the new institutions, where the original provenance fell mostly into oblivion.In the research more than a third of the artworks now in the Hungarian national Museum, the Museum of Applied Arts and the Museum of Fine Arts, Budapest could be identified, relying on the first printed catalogue of the Hungarian national Museum (1825) titled Cimeliotheca Musei Nationalis Hungarici, and the handwritten acquisition registers. The entries have revealed that fictitious provenances were attached to several items, since the alleged or real association with prominent historical figures played an important role in the acquisition strategies of private collectors and museums alike at the time. For example, an ivory carving interpreted in the Cimeliotheca as the reliquary of St Margaret of Hungary could be identified with an object in the Metalwork Collection of the Museum of Applied Arts (inv. no. 18843), whose stylistic analogies and parallels invalidate the legendary origin: the bone plates subsequently assembled as a front of a casket were presumably made in a Venetian workshop at the end of the 14th century.There are merely sporadic data about the network of István Marczibányi’s connections as a collector, and about the history of his former collection remaining in the possession of his heirs. It is known that collector Miklós Jankovich (1772–1846) purchased painted and carved marble portraits around 1816 from the Marczi bányi collection, together with goldsmiths’ works including a coconut cup newly identified in the Metalwork Collection of the Museum of Applied Arts (inv. no. 19041). The group of exquisite Italian Cinquecento bronze statuettes published by art historian Géza Entz (1913–1993), was last owned as a whole by Antal Marczibányi (nephew of István) who died in 1872. These collection of small bronzes could have also been collected by István Marczibányi, then it got scattered through inheritance, and certain pieces of it landed in north American and European museums as of the second third of the 20th century. Although according to Entz’s hypothesis the small bronzes were purchased by István’s brother Imre through the mediation of sculptor and art collector István Ferenczy (1792–1956) studying in Rome, there is no written data to verify it. By contrast, it is known that the posthumous estate of István Marczibányi included a large but not detailed collection of classical Roman statues in 1811, which the heirs did not donate to the national Museum. It may be presumed that some of the renaissance small bronzes of mythological themes following classical prototypes were believed to be classical antiquities at the beginning of the 19th century. Further research will hopefully reveal more information about the circumstances of their acquisition.
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Quien, Enes. "Najraniji i rani radovi kipara Rudolfa Valdeca." Ars Adriatica, no. 3 (January 1, 2013): 193. http://dx.doi.org/10.15291/ars.469.
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The article discusses the earliest, mostly lost works known only through archival photographs, and the early preserved works by Rudolf Valdec (8 March 1872, Krapina – 1 February 1929, Zagreb) who, apart from RobertFrangeš-Mihanović, was Croatia’s first modern sculptor. These works were created upon Valdec’s return from studying at Vienna and Munich, in the period between 1896 to 1898, that is, prior to the exhibition CroatianSalon where they were displayed. The findings about his earliest, previously unknown, works have been gathered through research in archives and old journal articles which mention them. At the same time, Valdec’s early works are not only well-known but famous, for example the relief Love, the Sister of Death (Ljubav sestra smrti, 1897), Magdalena (1898) and Memento Mori (1898). These reliefs and sculptures in the round demonstrate Valdec’s skill in sculptoral modelling and provide evidence that he was a sculptor of good technical knowledge andcraftsmanship. They also show the thoroughness of his education at Vienna’s K. K. Kunstgewerbeschule des Österreichischen Museums für Kunst und Industrie where he studied under Professor August Kühne, and at the Königliche Bayerische Akademie der bildenden Künste in Munich where he was supervised by Professor Syrius Eberle. It is difficult to follow Rudolf Valdec’s continuity as a sculptor because his student works have not been preserved and neither have some of the earliest works he made when he returned to Zagreb. Only a small number of previously unknown or unpublished photographs have been found which show the works which have been irretrievably lost. These works of unknowndimensions were not signed and are therefore considered as preparatory studies for more large-scale works from the earliest phase of his career. These are the reliefs of Apollo made for the pediments of the Pavilion of the Arts (Umjetnički paviljon) at Zagreb which was designed by Floris Korb and Kálmán Giergl, the Hungarian historicist architects, to house the Croatian displays at the Millenial Exhibition at Budapest in 1896. A year later, in 1897, the iron frame of the pavilion was transported to Zagreb.The bid to carry out the work was won by the Viennese architects Herman Helmer and Ferdinand Fellner, but the actual construction was done by the Zagreb architects Leo Hönisberg and Julio Deutsch under thesupervision of the city’s engineer Milan Lenuci. Valdec was entrusted with the making of reliefs illustrating the hymn to Apollo (Apollo of Delphi, Apollo Pythoctonos, and Apollo Musagetes). These three bas-reliefs werenever affixed to the pediments of the Pavilion of the Arts because the City Council did not authorize the execution due to a lack of funds. However, they were displayed at the Millenial Exhibition at Budapest and the Croatian Salon in 1898, and contemporary critics praised them as successful works of the young Valdec. The first relief depicts the Apollo of Delphi (hymn to Apollo) holding a severed head in his raised left hand. The second relief depicts Apollo Musagetes next to a shoot of a laurel tree(the symbol of Daphne) with a lyre in his left hand. The third relief shows Apollo Pythoctonos who, in a dynamic movement, is stringing his silver bow and shooting an arrow into the gaping mouth of a fire-breathing dragon.In his youth, Valdec produced works which embodied fear, anxiety, pessimism, restlessness and bitterness, all corresponding to the general tendencies of the fin de siècle. In 1899 he made Pessimism (Pesimizam), a work only known through its mention in the press by the critic M. Nikolić. Many other youthful works from the period between 1885 to 1889 have also been lost. These were: Passion, Christ, and Love (Muka, Krist, and Ljubav, 1896-1896) which were displayed at the Millenial Exhibitionin Budapest, Altar of the Saviour (Spasiteljev žrtvenik), Lucifer, Per Aspera ad Astra, Kiss (Cjelov), Christ Salvator (Krist Salvator), Hymn to Apollo (Apolonova himna), Apollo Phoebus (Apolon Phoebus), Ridi Pagliaccio, and Jesus (Isus). Our research has yielded photographs of theworks Per Aspera ad Astra and Christ Salvator, both of 1898. All the work from his youthful phase is in the Art Nouveau style, in harmony with the dominant stylistic trends in Vienna, Munich and central Europe, which,unsurprisingly, attracted Valdec too. In his desire to express his feelings and spiritual condition, as can be seen in the works like Per Aspera ad Astra, Valdec reveals the stamp of the Art Nouveau symbolism.Although Valdec’s earliest and a number of his early works have mostly been lost, those that have been preserved are made of plaster and bronze (now at the Collection of Plaster Casts of the Croatian Academy ofArts and Sciences in Zagreb), and belong to the most significant works of Croatian modern sculpture. The works in question are the relief sculptures Love, the Sister of Death (1897), Memento Mori (1898) and Magdalena(1898). The relief Love, the Sister of Death represents the first example of symbolism and stylization which were a novelty in modern sculpture in Croatia. The relief of Magdalena is, regardless of the fierce criticism on account of its nudity published by the priest S. Korenić in Glas koncila, a master-piece not only because it represents an excellent nude but also because of the psychological and philosophical expression it radiates. It is one of the best reliefs in Croatian sculpture in general. The relief Memento Mori features the first and only example of Valdec’s self-portrait rendered in profile, in which he depicted himself as a fool. The busts of Plato (Platon) and Aristotle (Aristotel) are considered to be first portraitscommissioned by Iso Kršnjavi. They were made in 1898 and set up on the wings of the building which housed the seat of the Department of Theology and Teaching in 10 Opatička Street, at the head of which was Kršnjavi. Valdec made the busts of these two Greek philosophers in the style of Roman naturalistic portraits.
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Rolska, Irena. "Fundacje sakralne wojewody wołyńskiego Seweryna Józefa Rzewuskiego (po 1694–1755)." Artifex Novus, no. 3 (October 1, 2019): 76–95. http://dx.doi.org/10.21697/an.7064.
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SUMMARY
Seweryn Józef Rzewuski was the son of Stanisław Mateusz Rzewuski (1662–1728), grand crown hetman and Belz voivode, and Ludwika Eleonora Kunicka (coat of arms: Bończa; d. 1749). He was the older brother of Wacław Piotr Rzewuski (1706–1779), grand crown hetman and castellan of Cracow. The main house of Seweryn Józef and Antonia from the Potocki Rzewuski was the castle in Olesko. Before 1745 the voivode carried out renovation works at the castle, decorating it with stuccos and sculptures. The main building Rzewuski founded was the church and Capuchin monastery located below the castle. The single-nave church has a double-span nave enclosed by two rows of lower, rectangular-shaped side chapels linked by narrow passages. The church has an austere, flat facade with one portal on the axis, typical for Polish Capuchin architecture. Monastery buildings were located on the northern side of the church. The wings of the monastery surrounded a rectangular inner viridary, uncommon for Capuchin monasteries. The monastery in Olesko was one of the most magnificent Polish Capuchin monasteries. Seweryn Józef and Antonina Rzewuski revered the blessed John of Dukla. This was manifested by their decision to found the building of a column dedicated to Blessed John of Dukla in Lviv in 1736. The Rzewuski kept good relations with the Greek Catholics from Chełm and the Chełm starosty. Rzewuski founded baroque side-altars for the orthodox church in Kanie, which are now in the local parish church. He was also one of the initiators of the coronation of the icon of Our Lady of Chełm. Seweryn Józef Rzewuski inherited Łęczna (1737), and as the city’s owner he began renovating the parish church of Saint Mary Magdalene, rebuilding the burned city hall, two market squares and establishing a third one. Rzewuski founded two new, baroque altars for the church. Two side-altars, the pulpit, baptismal font and two altars in side chapels remain until this day. The remains of the programme, that can be found on the altars, indicate a close link between the passion and eucharistic worship. In 1745 Seweryn Józef finished building and decorating a small, single-navechurch in Łuszczów. All aforementioned buildings and art founded by Seweryn Józef Rzewuski, except from the column dedicated to the blessed John of Dukla in Lviv, were located on territories which belonged to the voivode.
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Bakieva, Olga A., and Olga A. Popova. "Color in the art of the traditional costume of the indigenous small nations of the tyumen north (on the example of the analysis of museum exhibits)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 237–49. http://dx.doi.org/10.17223/22220836/46/20.
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Research objective: The authors set a goal to analyze the color symbolics in the folk costume of indigenous ethnic groups of North (Nenets, Khanty and Mansi) of the Tyumen region on the example of authentic sources, museum pieces and compare it with the main functions of the Luscher personality color analysis, to reveal the “collective subconscious”, nature of ethnic groups, their mentality. Sources: The basis of the article was the works of many researchers in various fields of science and culture (I. Newton, I.V. von Goethe, M. Lomonosov, N. Volkov, V. Kandinsky, I. Itten, M.O. Surina, R.G. Gadiyeva, O.Yu. Evseeva, O.A. Bakiyeva and others). In the course of the color analysis of the traditional folk costume and the identification of the color mentality of the ethnic group, color diagnostics according to M. Luscher was used. Content: The research of color was associated with the cultural activities of the peoples of the North of the Khanty (Ostyaks), Nenets (Samoyeds) and Mansi (Voguls). The color system was examined in traditional folk costume, it was developed over many centuries and carried information about the views of the people about the world around, their psychological characteristics (national character) and mentality. The novelty of the research is the relation of color preference, which the masters used in the manufacture of traditional clothing, and psyche features of these ethnic groups. Considering the color concept of Max Luscher and its relation with the psychological characteristics of a person and ethnic group, we developed criteria of color analysis of products of cooperative creative thought of ethnic groups (traditional costume): dominant (fundamental colors), subdominant (color in ornamental symbols), tonic (color emphasis in details), which would correspond to the main functions of color diagnostics in order to determine the color mentality of each nation individually. The article analyzes the color symbolism in the costume of the northern, eastern and southern Khanty, Nenets, Mansi on museum pieces in Tyumen, Tobolsk, Khanty-Mansiysk. The analysis obtained was compared with Luscher's color diagnostics and the results were verified according to the characteristics of textbooks on ethnopsychology. All this proves the certain intention in choice of the color scheme in a traditional costume, as well as provide the opportunity to highlight the features of the art of folk costume in different northern ethnic groups. Conclusions: In general, the color designation in the ornament of the indigenous small peoples of the Tyumen North (Khanty, Mansi and Nenets) disclose information about the way of life, folk traditions, rituals, the world outlook of the people who nomadized, was engaged in reindeer herding, hunting, fishing, and also the nature of the ethnic group, color mentality. The distinctive character traits of the small indigenous people can be identified by analyzing the color codes in the clothes: red-activity, blue - restraint, green - modesty, love of nature, for his family, etc. In general, the color mentality reveals cultural traditions with elements of the Ob-Ugric archaic, which is in harmony with nature, in balance.
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Shaikh, Almas, Aushili Mahule, Divyakshi Motwani, Ashwini Shirbhate, and Shakun Saraf. "Auricular Prosthesis for Congenitally Deformed Ear with Acrylic Template for Colour Depiction - A Case Report." Journal of Evolution of Medical and Dental Sciences 10, no. 35 (August 30, 2021): 3063–66. http://dx.doi.org/10.14260/jemds/2021/624.
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Prosthodontists usually stick to the dictum by MM Devan, “preservation of what remains than meticulous replacement of what has been lost.1” “Microtia” is a term used to describe congenital anomaly of the external ear. It is a combination of the words “micro” and “otia” each of the term denoting small and ear respectively. It includes a range of deformities which may consist of presence of a rudimentary ear, a grossly normal or smaller ear or complete absence of the entire external ear. These deformities usually account for 3 in every ten thousand births, with less than 10 % of all the cases showing bilaterally missing ears.2-4 Facial deformities are common for the microtia patient as the auricle develops from tissues of the branchial arches. Figure 1 describes the patient having congenitally missing unilateral ear. Maxillofacial prosthodontics deals with prosthetic rehabilitation of disfigured or missing parts of head and neck. Prosthetic replacement of the exterior part (Epithesis) can be related to as old as civilization. References to it are available in Indian, Greek, Roman, Egyptian Civilizations.5 Ambroise Pare is credited with making various contributions to the materials and techniques in facial prosthetics. Fabrication of an extra-oral prosthesis is probably more of an art than science. Throughout the recorded history, humans have attempted to restore missing parts of the body by using various artificial materials. MPF materials have evolved since centuries right from metals, ivory, porcelain, waxes, natural rubber, gelatin, and latex to modern day materials such as methacrylate or acrylic resins, polyurethane elastomers, and silicone elastomers each having their own set of advantages and disadvantages. But silicone is most commonly used because of its assorted benefits over other MFP materials. This case report describes an auricular prosthesis for the patient with congenital ear deformity using an acrylic template for colour depiction and room temperature volcanizing (RTV) silicone.6
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Krasnova, Anna L. "Historiography of Greek Religious Engravings." Observatory of Culture 19, no. 3 (July 5, 2022): 256–65. http://dx.doi.org/10.25281/2072-3156-2022-19-3-256-265.
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The article presents an overview of the literature on the history of the study of Greek religious engravings. For the first time, there is collected information about the Greek engravings, from the first mentions of them by travelers, to scientific works — monographs, articles, catalogs of collections and exhibitions dedicated to this rare phenomenon of mass religious culture of the 19th century, which has received insufficient attention, especially in Russian literature. This kind of art is quite fully represented in Russian collections, but it remains known only to a narrow circle of specialists. The article presents a systematized review of the world literature, which shows the extent of the study of the topic and opens up space for further research. The article shows the first pre-scientific (empirical) experiments in the description and interpretation of Greek engravings as a special type of church art, mainly Athonite. Further, the author considers the first scientific research and analyzes the monumental works on which all subsequent scientists rely. These are such catalogs as “Paper Icons” by D. Papastratu (in two volumes), “Khilandar Graphics”, “Svyatogorsk Graphics” by D. Davydov. Along with the studies of the main contemporary authors, there are also mentioned studies related to the theme of Greek engraving in an indirect way — those concerning the genesis of the phenomenon of this type of church art. These are studies of proskynetarions, specific engravings and paintings with views of holy places. The article concludes with a historiographic survey of recently published Russian catalogs and studies. This presentation structure corresponds to the task of studying the interest of scientists in this kind of art, identifying scientific problems that attracted researchers in different periods of time.
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Kitchell, Kenneth F. "Seeing the Dog: Naturalistic Canine Representations from Greek Art." Arts 9, no. 1 (January 30, 2020): 14. http://dx.doi.org/10.3390/arts9010014.
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This study attempts to demonstrate that ancient Greek authors and vase painters (mostly of the late sixth and early fifth centuries) were well attuned to the many bodily gestures and positions exhibited by dogs in real life and utilized this knowledge in producing their works. Once this is clear, it becomes evident that the Greek public at large was equally aware of such canine bodily gestures and positions. This extends the seminal work on gestures of Boegehold and Lateiner to the animal world and seeks also to serve as a call for further study of similar animals throughout ancient Greek times.
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Castagnoli, Luca. "Philosophy." Greece and Rome 60, no. 2 (September 16, 2013): 341–58. http://dx.doi.org/10.1017/s001738351300017x.
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The interest in Presocratic philosophy, and the scholarly output on it, have been rising again in the last few years. I start this review with a sample of recent publications in the area. It is easy to expect that Daniel Graham's collection of The Texts of Early Greek Philosophy, in two volumes, will become a popular tool for the study of Presocratic philosophy (for some qualifications on this expectation see below). The sourcebook aims to present ‘the complete fragments and a generous selection of testimonies’ for the major early Greek philosophers. English translations (all by Graham himself) are set opposite to Greek and Latin texts (with slim textual notes identifying substantive textual variants), with succinct introductions for each philosopher, and brief commentaries and basic bibliographies following the texts. The Diels-Kranz (hereafter DK) collection is the starting point for this sourcebook, but Graham is quite selective in his shortlist of those who deserve a place in his sourcebook: out of ninety DK sections, he includes only nineteen philosophers (Thales, Anaximander, Anaximenes, Xenophanes, Heraclitus, Parmenides, Zeno of Elea, Anaxagoras, Empedocles, Diogenes of Apollonia, Melissus, Philolaus, Leucippus, Democritus, Protagoras, Gorgias, Antiphon, Prodicus, and Pythagoras, the last being relegated to an appendix) and two anonymous texts, the Anonymus Iamblichi and the Dissoi Logoi. Although the sourcebook includes some fragments and testimonies that did not appear in DK (e.g. the Strasbourg papyrus for Empedocles), and only a selection of the testimonies included there, the major difference in terms of the material included for the selected philosophers is the order in which fragments and testimonies are presented. The fragments are incorporated within the context of the broader testimonies containing them (and signalled in bold), rather than listed separately, as in DK; the numbering of fragments and testimonies does not correspond to DK, but the DK numbers are given in addition, and volume 2 includes a list of concordances (besides an index of sources, an index of other passages quoted by Graham in his end-of-chapter commentaries, and a short general index of names and topics). Graham's choice is definitely a healthy step forward from DK's largely artificial strategy of separating fragments and testimonies into two different sections; one might wonder whether the decision to signal in bold words, phrases, sentences, and sections that supposedly count as original fragments within the broader context in which they occur is still too heavily indebted to the DK model. For each author the texts are organized in four main sections: life, works, philosophy, and reception, with the philosophy section typically structured into thematic subsections. Of course the strengths and shortcomings of a monumental work such as Graham's can be fully appreciated only over time, once you use it repeatedly in your teaching and research. I have mentioned Graham's approach to the distinction between fragments and testimonies: some sustained methodological discussion, and explanation of the criteria guiding the distinction, would have been welcome. Unavoidably some readers will find Graham's shortlist of philosophers and selection of texts unsatisfactory and too narrow: some qualms about notable exclusions – such as Solon, Alcmaeon, Archytas, Pherecydes, the Orphics, and the Derveni author – have already been voiced (for example, by Jason Rheins in his review in Notre Dame Philosophical Reviews). As far as I could see, the translations are reliable, and the short introductions, commentaries, and bibliographies provide just enough information for readers to contextualize the authors and texts within the philosophical tradition (less so within the broader archaic Greek cultural and literary tradition), and appreciate some of the key exegetical and philosophical issues that they raise. Just enough, and this brings me to what I find to be the less convincing aspect of such an enterprise as Graham's. His collection will certainly be of some use as an accessible reference tool for advanced students and researchers, but its selectivity will prevent it from becoming a research tool in its own right, and standard editions of individual Presocratics will remain the first port of call (for example, the second edition of Coxon's The Fragments of Parmenides, reviewed below). At the same time, the breadth of the material that it contains, coupled with the relative thinness of the apparatus of introductions and commentaries, does not make The Texts of Early Greek Philosophy the kind of introductory sourcebook that could be used on its own in an introductory undergraduate course on ancient philosophy, or on the Presocratics. It is difficult to imagine lecturers of such courses prescribing to their students more than a small fraction of the material offered by Graham; and those students will still need to use standard introductions to Presocratic philosophy such as Kirk–Raven–Schofield, Barnes, McKirahan, or Warren to make real sense of the evidence presented by Graham, placing it within a unified narrative about the nature and development of early Greek philosophy. From this point of view, Graham's collection risks falling into no man's land from the point of view of its readership: it is neither a ground-breaking, research-shaping tool such as, for example, Long and Sedley's collection on The Hellenistic Philosophers has been for three decades now, nor an introductory textbook easily accessible (for both sheer bulk and price) to undergraduate students. That said, Graham's work still deserves a place in all university libraries and on the shelves of ancient philosophy scholars.
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Painesi, Anastasia. "Historical Events as a Means of Iconographic Interpretation: The Reconstruction of Lost Greek Historical Paintings of the Fifth and Fourth Centuries B.C." Cahiers d'histoire 31, no. 2 (November 6, 2013): 157–79. http://dx.doi.org/10.7202/1019288ar.
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The disappearance of Greek monumental painting causes fundamental problems in the study of this particular form of art. Texts referring to or works of art inspired by Greek paintings seem to be frequently inadequate at the task of providing a realistic reconstruction of the painted works. Nevertheless, the reconstruction of the date and type of representation of historical paintings seems to be facilitated by texts of historical context that offer valuable informations on the events that inspired the painters of the fifth and fourth Centuries B.C. This paper will examine specific cases of Classical paintings, such as the Battle of Marathon and the Battle of Mantineia, whose iconographical reconstruction depends considerably on historiographical testimonies.
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Boiko, Olha. "CULTURAL ALLUSIONS IN TEXT CREATION OF UKRAINIAN AND RUSSIAN FANTASY." Odessa National University Herald. Series: Philology 26, no. 2(24) (July 22, 2022): 17–29. http://dx.doi.org/10.18524/2307-8332.2021.2(24).251833.
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The article is devoted to the analysis of allusion as an element of intertextuality, which plays an important role in the text - making of Russian and Ukrainian fantasy texts. Scientific investigations are analyzed, in which there are definitions of allusion as a stylistic figure and stylistic reception, hint and indirect reference. The origin of allusion as borrowing of a pretext, and also its semantic-compositional role in expression of constructive intertextuality (according to N. Fateeva) is characterized. It is determined that allusions, according to A. Tyutenko, work to increase the content. The own definition of the concept of allusion as a dual (verbal-non-verbal) means of actualizing the cultural and historical memory of the reader is proposed. The duality of allusion is that it can be intertextual or intermedia, with reference to the fine and audiovisual arts (including cinema, opera, ballet), music, and so on. The cognitive-suggestive function of allusion is important. In addition, the question of distinguishing between the concepts of "precedent phenomenon" and "allusion" arises. In our study, allusions may contain precedent phenomena - names, names, situations, etc .; but allusion is a broader concept because it is a hint, and a hint does not necessarily contain specific onyms. On the other hand, the precedent phenomenon is not always an allusion in the literal sense of the word, it can be a quotation or just a reference to a well-known fact, such as dictionary definitions. Allusion as an intertextual element appears on the verge of combining two contexts - the source, from which the author chooses the element he needs, and the new, newly created. Very often allusive vocations work as analogies, comparisons of the new and the well-known. However, the vast majority of allusions used in fantasy are built on the use of precedent phenomena - universal-precedent or national-precedent. Culturological (religious, mythological, fairy-tale) allusions were analyzed on the basis of a total of 570 fragments (17% of the total number of intertextual elements selected from the source base (3341.)). in the table, exceeds 570 due to the fact that certain varieties overlap: artionyms can be a variety of fairy tales and a variety of literary, intermedia, as well as anthroponyms, poetonyms, etc. We did not distinguish between attributed and non-attributed allusions, the reason is small the number of attributed allusions in fantasy works. Examples from the works of Volodymyr Arenev, Darya Korniy, Niki Kallen, Max Frei and other Ukrainian-speaking and Russian-speaking writers are given. We came to the conclusion that mythological references are convenient to divide by cultural source: Aztec, East (Tibet), Greek culture, Egypt, China, Scandinavian mythology and Slavic. It should be noted that references to Slavic mythology are the most common in Ukrainian fantasy, while in Russian they are almost non-existent. Religious allusions are more part of the recipient's permanent intertextual field, which allows for the creation of intertextual connections with the religious context (sacred texts, material artifacts), as well as to enrich the arsenal of magical elements in fantasy discourse. Folklore allusions are part of a group of ideological allusions - folklore vocations to folk art reflect the people's ideas about the world around them, so they contain mythonyms, theonyms, etc., and are closely related to magical discourse through the involvement of mythonyms, theonyms, names to denote chimerical creatures and other signs of the fantastic.
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Ralli, Angela. "Review article:Morphology in Greek Linguistics: The State of the Art." Journal of Greek Linguistics 4, no. 1 (2003): 77–129. http://dx.doi.org/10.1075/jgl.4.09ral.
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AbstractIn recent years, morphology has received increasing attention within linguistic theory. It deals with word structure and attracts significant interest in languages that are morphologically rich, such as Modern Greek (hereafter Greek). In this paper, I present an overview of the main theoretical studies that focus on Greek morphology in the last four decades, with a particular emphasis on those following the framework of generative grammar. Reasons of space prevent me from giving an exhaustive presentation of all the topics that have been examined from a synchronic point of view. Moreover, I do not take into consideration studies on historical and dialectal morphology or lexical borrowing, or works that cover areas where morphological issues interact with research in domains such as computational linguistics, psycholinguistics, and neurolinguistics.
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Sîrbu, Adrian. "“Style” or “yphos” in Psaltic Art?" Artes. Journal of Musicology 24, no. 1 (April 1, 2021): 321–28. http://dx.doi.org/10.2478/ajm-2021-0019.
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Abstract The term style is used in the philosophy of culture, in aesthetics, art theory and art criticism, in literary languages, in the plastic and monumental arts, in the way of life and behavior of people to characterize cultures, eras, creative individuals or works, so as we learn from philosophy dictionaries. If in Greek there is this duality of the terms style and yphos, the Romanian language uses only the former, while yphos appears to be used with completely different meanings, over time. Unlike the meanings in Greek, in the current dictionaries of the Romanian language the word yphos has a more pejorative meaning, suffering over time semantic changes. However, it seems that the old meaning of the term yphos reveals much deeper and richer valences than the term style and helps us to understand in a better way the conditions of an authentic musical-spiritual interpretation, in the “right spirit”.
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Smith, Tyler Jo. "8 Greek art: recent developments and current trends." Archaeological Reports 69 (November 2023): 167–96. http://dx.doi.org/10.1017/s0570608423000078.
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This review essay focuses on recent developments and trends in the study of ancient Greek art. The publications covered date primarily to the period beginning in 2017–2018, though selected earlier works have been included where considered to be of particular merit or importance. Examples have been chosen to span and represent the long Archaic to Hellenistic phases (eighth–first century BC), and a full range of artistic categories and media have been featured in the discussions. In order to structure the large quantity of bibliography available, the presentation is divided into several broad categories according to themes (e.g. sites, reports, guides; exhibitions, conferences, Festschriften) or materials (e.g. sculpture and terracottas; metals, coins, gems, and jewellery). Where possible, digital resources applicable to the discipline have also been mentioned and cited. By way of conclusion, some general observations are made about the subjects of Greek art that seem not only to be the most prevalent in recent scholarship, but also transcend artistic medium, style, and scale – among them the body and adornment, senses and emotion, aesthetics and beauty, religion and performance, and archaeological contexts and intercultural connections.
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Barnes, Daniel. "THE ART OF TRAGEDY." Think 10, no. 28 (2011): 41–51. http://dx.doi.org/10.1017/s1477175611000017.
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In this essay, I want to provide an introduction to Aristotle's theory of the Greek Tragedy, which he outlines in his book, the Poetics. Many philosophers since Aristotle, including Friedrich Nietzsche and Walter Benjamin, have analysed tragic art and developed their own theories of how it works and what it is for. What makes Aristotle's theory interesting is that it is as relevant to art today as it was in Ancient Greece because it explains the features of not just tragic art, but of the films and stories that we enjoy today. I will explain the features that Aristotle says make a good tragic play and give examples of them from popular culture. The examples I give will be from tragedy, but also from romance, crime and fantasy to demonstrate how he has outlined, not just the features of Greek Tragedy, but also the internal workings of the drama that we enjoy today. The contemporary relevance of Aristotle's theory is in the fact that the features he outlines are basic features of great stories, which I think is best illustrated by applying Aristotle's analysis to popular Hollywood movies.
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Egorova, L. V. "Contemporary Greek prose: An anthology; Contemporary Greek poetry: An anthology." Voprosy literatury, no. 1 (August 15, 2023): 209–14. http://dx.doi.org/10.31425/0042-8795-2023-1-209-214.
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The review discusses two anthologies of contemporary Greek literature (prose and poetry), comprising works of the authors distinguished with the country’s State Prize for Literature in the years from 2010 to 2018. The two books succeed in capturing the multidimensional character of Greece’s modern life and literature in small forms (short stories, novellas and poems). The first anthology features short stories and novellas by fourteen authors. The second contains works by twenty poets, each represented by five poems. While some authors were rewarded for their literary debut, others received the prize for lifetime achievements. Thanks to the anthologies, characterised by a diversity of subjects, artistic methods and poetic messages, the Russian audiences can join in the polylogue between classics and avant-gardists, realists and surrealists, and gurus and novices, as well as broaden their knowledge of the latest developments in a literature rooted in ancient history that remains unique and inspired through the oeuvre of its masters.
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Eldridge, Hannah Vandegrift. "Towards a Philosophy of Rhythm: Nietzsche’s Conflicting Rhythms." Journal of Literary Theory 12, no. 1 (March 26, 2018): 151–70. http://dx.doi.org/10.1515/jlt-2018-0009.
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Abstract In recent years, theories of rhythm have been proposed by a number of different disciplines, including historical poetics, generative metrics, cognitive literary studies, and evolutionary aesthetics. The wide range of fields indicates the transdisciplinary nature of rhythm as a phenomenon, as well as its complexity, highlighting the degree to which many of the central questions surrounding rhythm remain extraordinarily difficult even to state in terms that can traverse the disciplinary boundaries effortlessly transgressed by rhythm as a phenomenon. In particular, any theory of rhythm, whether in music, dance, sociology, or language, must grapple with two quandaries. First, the precise site of rhythm remains opaque: rhythms occur in, affect, and are produced by all of bodies, cultures, and universals (whether metaphysical or species-physiological). What is the relation between species-wide characteristic, individual body, cultural context, and the history of art making in the experience of rhythm? Second, rhythm is simultaneously a phenomenon of fixed, organizing form and one of dynamic, changing flow. How can rhythm encompass both the measurement of regular recurrences across time and the organizing of temporal phenomena as they unfold? In this article, I draw on Emile Benveniste and Henri Meschonnic to elucidate these quandaries or conflicts before turning to Friedrich Nietzsche’s work on rhythm. I argue that Nietzsche’s work with rhythm provides a historically situated model for how we might continue to take the questions and conflicts within rhythm seriously, rather than privileging an abstract and universally applicable theory of rhythm. This model is especially crucial for our own historical moment, when cultural-political emphasis on science and technology at the expense of aesthetics devalues all insights not presented in the form of countable data points or empirically testable facts. Nietzsche is, of course, one of the great critics of positivist-scientistic epistemologies, part of a long tradition questioning the naturalness of natural-scientific paradigms and alerting us to the metaphors at play even in the ›hard sciences‹. I use rhythm as one paradigmatic place to resist the importation of scientistic thought into discussions of language, literature, and culture. I show how Nietzsche’s writings on rhythm prove illuminating for contemporary understandings of rhythm because the tensions in his work are shaped by the quandaries inherent to rhythm that I have used Benveniste and Meschonnic to elaborate, namely the question of rhythm’s site as individual, cultural, or universal, and the conflict between rhythm as form and as flow. The question of the site of rhythm appears in Nietzsche’s discussions of Greek and Latin meters both in his philological works, in his aphorisms, and in his letters: on the one hand, he argues that Greek and Latin metrical and rhythmic resources are irrevocably lost to modern cultures (indicating that rhythm is a product of culture), while on the other, he emphasizes the impact of rhythm on the body and offers advice for replicating Ancient metrical and rhythmic techniques (suggesting that rhythm is based on physiological universals). And the conflict between flow and form appears as Nietzsche praises both the productive constraint created by large-scale, architectonic, or macro-formal rhythms and the freedom from such constraint enabled by small-scale, leitmotiv-based, or micro-formal rhythms. The conflicts in Nietzsche’s work between the loss and recovery of Ancient rhythms and between rhythm as small scale freedom vs. large scale constraint thus represent one particular unfolding of the dilemmas for rhythmical theory worked out by Benveniste and Meschonnic. The various modern disciplines engaged with rhythm will answer different sets of these questions in different ways. Most practitioners of, e. g., evolutionary aesthetics, neuroaesthetics, or cognitive poetics would no doubt contend that they are using the tools of the natural sciences to investigate long-standing humanistic inquiries. Nietzsche, as a critic of his own era’s scientific positivism who allows tensions inherent in these questions to remain open in his own work, is an ideal interlocutor with whom to ask whether even the adoption of these tools ends up placing excessive faith in natural-scientific paradigms and undercutting other—affective, bodily, metaphorical, poetic, etc.—ways of knowing, as I demonstrate briefly in the examples of evolutionary aesthetics and generative metrics. Because Nietzsche leaves open the conflicts over rhythm’s site and its qualities as form or flow, he can use individual bodily experience to make physiological arguments about the effects of rhythm on culture and vice versa: Nietzsche takes his bodily response to be an index of cultural values inherent to rhythmical practices. The particular values that Nietzsche critiques shift across his career—early on he condemns German musical and poetic rhythms for being too rigid, while later he sees them as pathologically heightening affect and emotion. In both cases, detrimental rhythmic practices lead to detrimental bodily practices and to the degeneration of culture, while rhythmic practices work as a bodily and cultural corrective. In his critiques of German forms and praises of Greek forms, and in the moments in which he brings them together, Nietzsche thus asserts the complex interrelation of culture, body, and history.
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Alazeb, Abdulwahab, Usman Azmat, Naif Al Mudawi, Abdullah Alshahrani, Saud S. Alotaibi, Nouf Abdullah Almujally, and Ahmad Jalal. "Intelligent Localization and Deep Human Activity Recognition through IoT Devices." Sensors 23, no. 17 (August 23, 2023): 7363. http://dx.doi.org/10.3390/s23177363.
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Ubiquitous computing has been a green research area that has managed to attract and sustain the attention of researchers for some time now. As ubiquitous computing applications, human activity recognition and localization have also been popularly worked on. These applications are used in healthcare monitoring, behavior analysis, personal safety, and entertainment. A robust model has been proposed in this article that works over IoT data extracted from smartphone and smartwatch sensors to recognize the activities performed by the user and, in the meantime, classify the location at which the human performed that particular activity. The system starts by denoising the input signal using a second-order Butterworth filter and then uses a hamming window to divide the signal into small data chunks. Multiple stacked windows are generated using three windows per stack, which, in turn, prove helpful in producing more reliable features. The stacked data are then transferred to two parallel feature extraction blocks, i.e., human activity recognition and human localization. The respective features are extracted for both modules that reinforce the system’s accuracy. A recursive feature elimination is applied to the features of both categories independently to select the most informative ones among them. After the feature selection, a genetic algorithm is used to generate ten different generations of each feature vector for data augmentation purposes, which directly impacts the system’s performance. Finally, a deep neural decision forest is trained for classifying the activity and the subject’s location while working on both of these attributes in parallel. For the evaluation and testing of the proposed system, two openly accessible benchmark datasets, the ExtraSensory dataset and the Sussex-Huawei Locomotion dataset, were used. The system outperformed the available state-of-the-art systems by recognizing human activities with an accuracy of 88.25% and classifying the location with an accuracy of 90.63% over the ExtraSensory dataset, while, for the Sussex-Huawei Locomotion dataset, the respective results were 96.00% and 90.50% accurate.
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Shylova, Tetiana, and Vladyslav Titiev. "IMPROVEMENT OF TERRITORIES: CONCEPTS, MEANS, ELEMENTS, OBJECTS, TECHNIQUES, AND PRINCIPLES." Spatial development, no. 7 (February 23, 2024): 337–54. http://dx.doi.org/10.32347/2786-7269.2024.7.337-354.
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The formulations and content of the concept of "urban improvement" have been analyzed. The most comprehensive definition is: "Improvement of populated areas is a complex of works on engineering protection, cleaning, drainage, and greening of the territory, as well as socio-economic, organizational-legal, and environmental measures to improve the microclimate, sanitary cleaning, noise reduction, etc., carried out in the territory of a populated area with the aim of its rational use, proper maintenance and protection, and creating conditions for the protection and restoration of the environment conducive to human life. Measures for the improvement of populated areas are activities on restoration, proper maintenance, and rational use of territories, protection, and organization of landscaping objects taking into account the peculiarities of their use." The elements of improvement include: - surfacing of squares, streets, roads, driveways, alleys, boulevards, sidewalks, pedestrian zones, and paths; - public, restricted, and specialized green spaces; - buildings and structures of the household waste removal system; - means and equipment for external lighting and outdoor advertising; - technical means of traffic regulation; - structures of the engineering protection system of the territory; - complexes and objects of monumental art; - facilities and equipment for children's play areas, sports fields, and other recreational spaces located in public areas and other improvement sites; - small-scale architectural structures; - other elements of improvement defined by regulatory legal acts. Projects for the improvement of public use territories must necessarily include city transport parking and guest parking for cars. The main means, elements, objects, principles, and techniques of urban territory improvement have been defined. A list of goals and requirements for the placement of improvement objects at different stages of urban planning design - the general plan of the city, the zoning project of the city territory, the design of the residential area and microdistrict, as well as the group of residential buildings - has been formulated. Using the example of the "Poznyaky" residential area in Kyiv, the main techniques and the state of improvement have been considered. Recommendations for improving the quality of microdistrict territories through engineering improvement have been developed.
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Vlachadi, Maria, Magdalini Kalopana, and Alexandros Argyriadis. "Greek Art Music in Greece’s Schools: A Socio-Cultural Research Based on Content Analysis and Educators’ Interviews." International Journal of Research and Innovation in Social Science VII, no. III (2023): 1178–94. http://dx.doi.org/10.47772/ijriss.2023.7311.
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Music, as a subject of primary and secondary formal education, is described in the Curriculum and is consisting of educational material and teaching practices. Inclusion of all three distinct music categories –art, traditional and popular–both domestic and western is a current bibliographical matter with cultural and social correlations. Focusing on Greek Schools of Primary and Secondary Education as a case study, research of mixed methods was conducted, to depict both material and practices, regarding their inclusion to music categories. In the first part of the research, the educational material was indexed quantitatively (content analysis) and triangulated qualitatively (critical content analysis). The results of the first part identified the questions of the second part: a qualitative interview survey –including quantitative triangulation– on teaching practices for music teachers. The results of the first and the second part of the research correspond to a considerable extent, proving that the educational material identifies the content and the practice of the educational process. The three distinct music categories –art, traditional and popular– are contained in different quotas in the educational material and the teaching practices. The works of Greek art music constitute the minority of quotations, while the place of art music is occupied by Western art music. In fact, Greek music is approached through traditional and popular songs, with the latter often being confused with art creation. Further interpretation of the research results through Bourdieu’s theory highlights cultural extensions which reproduce the structure of the Greek society.
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Navarrete, Miquel Àngel, and Josep Maria Sala-Valldaura. "La tela de Penelope: Entre la Grècia clàssica i la poesia catalana actual." Zeitschrift für Katalanistik 1 (July 1, 1988): 93–105. http://dx.doi.org/10.46586/zfk.1988.93-105.
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This essay examines the explicit references to Greek literature in Catalan poetry since 1980. For the first time, it examines how the Catalan poets include the mythology, philosophy and art of classical Hellas today – after the formative "noucentist" tradition of Carles Riba and Salvador Espriu – in their works. The diverse reception of Greek motifs is illustrated using selected examples. The subject areas are limited to a few central myths – primarily to the figure of the cunning Ulysses.
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Wasserman, Jerry. "Gathering rose buds as ye may." Canadian Theatre Review 82 (March 1995): 90. http://dx.doi.org/10.3138/ctr.82.018.
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In our review article, Rob Nunn considers the disparate goals of three anthologies: canonizing Canadian drama (Wasserman), collecting dramatic scenes (Hamill), and promoting regional drama (Johnston Lewis and Warren). From the Greek words anthos, meaning “flower” and legein, “to gather”, “anthology” describes a collection of the “flowers” of Greek verse, the gathering up of small choice poems. Of course, gathering implies judging, selecting, and rejecting. And in the age of post-modern drama, Canadian and otherwise, these activities are permeated with ideological agendas. “Choice” becomes exceedingly problematic when we recognize that principles of judgement and selection are no longer “natural”, no longer unscrutinized. What do anthologists reject, exclude, make standard? What is “standard”? CTR considers three anthologies here because the impulse to anthologize, it seems, is as old as the Greeks. But, given the increasing difficulty to justify “judgement”, does the anthology have a future? JTG
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Wasserman, Jerry, Tony Hamill, Marion Gilsenan, Ann Jansen, David Ferry, Jacquie Johnston Lewis, Dianne Warren, and Robert Nunn. "Modern Canadian Plays, 3rd ed., 2 vols; You’re Making a Scene: Scenes from Canadian Plays; Eureka! Seven One-Act Plays for Secondary Schools." Canadian Theatre Review 82 (March 1995): 90–92. http://dx.doi.org/10.3138/ctr.82.019.
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In our review article, Rob Nunn considers the disparate goals of three anthologies: canonizing Canadian drama (Wasserman), collecting dramatic scenes (Hamill), and promoting regional drama (Johnston Lewis and Warren). From the Greek words anthos, meaning “flower” and legein, “to gather”, “anthology” describes a collection of the “flowers” of Greek verse, the gathering up of small choice poems. Of course, gathering implies judging, selecting, and rejecting. And in the age of post-modern drama, Canadian and otherwise, these activities are permeated with ideological agendas. “Choice” becomes exceedingly problematic when we recognize that principles of judgement and selection are no longer “natural”, no longer unscrutinized. What do anthologists reject, exclude, make standard? What is “standard”? CTR considers three anthologies here because the impulse to anthologize, it seems, is as old as the Greeks. But, given the increasing difficulty to justify “judgement”, does the anthology have a future? JTG
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Reshetnikov, S. A. "Greek and Latin epigram on medicine and health." Kazan medical journal 43, no. 5 (November 16, 2021): 88–89. http://dx.doi.org/10.17816/kazmj88066.
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Zarani, Flora E., and Anastassios Philippou. "Promoting "Exercise Is Medicine" By Greek Students’ Works Of Art During The Pandemic." Medicine & Science in Sports & Exercise 55, no. 9S (September 2023): 1049. http://dx.doi.org/10.1249/01.mss.0000989612.85462.ab.
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Alexandra, Antoniadou. "Performance Art and Feminism: Bodies of Care and Patience." Proceedings of The Global Conference on Women’s Studies 1, no. 1 (May 11, 2023): 74–84. http://dx.doi.org/10.33422/womensconf.v1i1.23.
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This paper examines the concepts of “care” and “patience” under capitalism and in relation to social reproduction theory through performative works of art. The idea that reproduction is not about creating life but instead the creation of new workers has preoccupied a new wave of feminist theorists and activists who wish to explore women’s place and labour in and outside the sphere of production and explain the relationship between oppression and exploitation. Although working class women have been carrying the burden of the extra physical, mental and emotional labour generated by the Coronavirus disease of 2019, social reproduction theorists and survey data show that women have been performing a disproportionate amount of unpaid care and housework long before the pandemic. The feminisation and devaluation of care labour that patriarchal capitalism promotes can only lead to women’s systematic subjugation. Through the critical feminist analysis of performative works by Chrysi Tsiota, Fotini Kalle and Angeliki Avgitidou that draws on the writings of Silvia Federici, Tithi Bhattacharya and Emma Dowling among others, and the theorisation of “patience” by philosophers Slavoj Žižek and Alain Badiou this paper interconnects the notions of care and patience to expose women’s economic and sexist exploitation and deepen our understanding of everyday life in neoliberal capitalism. Arguing that despite the intense engagement of Greek women artists with issues around reproductive labour, the lack of a feminist art history and theory in Greece has led to the marginalisation of such discussions, this paper aims to bring in light important works of performance art and the necessity for such issues to be addressed within the Greek borders.
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Stroppa, Marco. "The Physiologus and the Greek Papyri." Reinardus 28 (2016): 168–84. http://dx.doi.org/10.1075/rein.28.11.str.
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In Greek literary papyri coming from Egypt we can find only a few evidences of works about animals, for example fragments of Aristotelian works or works linked to the scientific production. Only in recent years two papyri were published that contained a “bestiary” in a broad sense. The first papyrus is a fragment of the Physiologus, one of the most important ancient Greek treatises devoted to the animals: it is a fragment small in size, but of great importance since it testifies the spreading of this work. The second papyrus full of animal figures is the so-called Artemidorus Papyrus, which on one side bears the drawings of many animals. In some cases it is possible to trace them back to the animals described in the chapters of the Physiologus, and determine connections between such different products, an illustrated scroll belonging to the first century AD and a Christian essay of the third century AD.
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Stroppa, Marco. "The Physiologus and the Greek Papyri." Reinardus / Yearbook of the International Reynard Society 28 (December 31, 2016): 168–84. http://dx.doi.org/10.1075/rein.28.11str.
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In Greek literary papyri coming from Egypt we can find only a few evidences of works about animals, for example fragments of Aristotelian works or works linked to the scientific production. Only in recent years two papyri were published that contained a “bestiary” in a broad sense. The first papyrus is a fragment of the Physiologus, one of the most important ancient Greek treatises devoted to the animals: it is a fragment small in size, but of great importance since it testifies the spreading of this work. The second papyrus full of animal figures is the so-called Artemidorus Papyrus, which on one side bears the drawings of many animals. In some cases it is possible to trace them back to the animals described in the chapters of the Physiologus, and determine connections between such different products, an illustrated scroll belonging to the first century AD and a Christian essay of the third century AD.
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Hajdú, Attila. "Lukianos és Kallistratos műtárgyleírásai: szöveg és hagyomány." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 21–40. http://dx.doi.org/10.14232/antikren.2018.1.21-40.
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Lucian of Samosata’s descriptions of works of art are invaluable for the studying of the Classical and post-Classical Greek sculpture. The Second Sophistic author does not only give accurate and detailed descriptions about Greek sculptures and paintings, but as a real connoisseur of art he also judges them from the perspective of aesthetics. In the first main part of my paper, I will focus on the characteristics of his descriptions by analyzing the nude figure of Aphrodite of Cnidus made by Praxiteles and the ‘eclectic’ portrait of Panthea. The aim of the second part of my paper is to present the essential features of Ekphraseis of the sophist Callistratus who lived in Late Antiquity (IV–Vth century AD). It has been disputed if Callistratus’ work inspired by the rhetorical exercises has any art history values. This paper also raises the question how the tradition of both Lucian and Callistratus could influence the description of the sculpture ‘Apollo Belvedere’ included in Winckelmann's epoch-making Art History.
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Sparkes, Brian A. "Greek Bronzes." Greece and Rome 34, no. 2 (October 1987): 152–68. http://dx.doi.org/10.1017/s0017383500028102.
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When I first began to study Greek art, back in the mid 1950s, a book on Greek sculpture had recently been published in Germany and in England that did much to encourage my interest. It was Reinhard Lullies and Max Hirmer's big picture book, Greek Sculpture, since enlarged and running into three German and two English editions. Its basic idea was not totally novel but was rare for its time and never previously done so well. It presented large, clear photographs of original Greek works (by Hirmer) with a scholarly commentary to each piece (by Lullies); it omitted anything that was known, or considered, not to be original. In doing so, it provided a strong contrast to the sort of book with which I had already come into contact, the sort best characterized perhaps by Ernest Gardner's Six Greek Sculptors of 19252which contains not one single original piece by the six chosen sculptors and in which all the photographs are seen through a glass darkly. Gardner's title and approach, with heavy emphasis on literary evidence and Roman copies, accompanied by a sprinkling of original, unattributed pieces for ballast, was typical of a traditional line of study-that of Kopienkritik, an approach not dead yet by any means and in fact one which must continue to be pursued, though nowadays it is tackled with more caution than earlier. But until one incontrovertible example of a named sculptor's work is found, all attributions must be arguable approximations.
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Cueva, Edmund P. "The Living Art of Greek Tragedy. By Marianne McDonald. Bloomington and Indianapolis: Indiana University Press, 2003; pp. 224. $15.95 paper." Theatre Survey 46, no. 1 (May 2005): 167–68. http://dx.doi.org/10.1017/s0040557405390090.
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Marianne McDonald's book provides a solid introduction to ancient tragedy and theatre. The author examines the works by the three major ancient Greek tragedians, Aeschylus, Sophocles, and Euripides, and supplies for each playwright biographies, synopses of their works, and modern and ancient translations and adaptations of their plays. The listing of the translations and adaptations is selective and spans from the classical period up to the twentieth century.
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Trudgill, Peter. "Modern Greek dialects: A preliminary classification." Journal of Greek Linguistics 4, no. 1 (2003): 45–63. http://dx.doi.org/10.1075/jgl.4.04tru.
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AbstractAlthough there are many works on individual Modern Greek dialects, there are very few overall descriptions, classifications, or cartographical representations of Greek dialects available in the literature. This paper discusses some possible reasons for these lacunae, having to do with dialect methodology, and Greek history and geography. It then moves on to employ the work of Kontossopoulos and Newton in an attempt to arrive at a more detailed classification of Greek dialects than has hitherto been attempted, using a small number of phonological criteria, and to provide a map, based on this classification, of the overall geographical configuration of Greek dialects.
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Tatarinova, Evgenia A. "“Legends and Myths of Ancient Greece in the Russian Book Tradition of the 18th - 21st centuries”: Exhibition in the RSL." Bibliotekovedenie [Library and Information Science (Russia)] 1, no. 2 (April 28, 2016): 188–90. http://dx.doi.org/10.25281/0869-608x-2016-1-2-188-190.
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The Russian State Library (RSL) organized and devoted to the Year of Greece in Russia the exhibition, presenting the editions of the world known monument - Myths and Legends of Ancient Greece. Manuscript books, reflecting the motives of the ancient Greek myths, publication of the first translations into the Russian language made by N. Gnedich and V.A. Zhukovsky, scientific studies of the domestic authors were accompanied by the art works from the collections of the Department of Visual Art Publications of the RSL and partner organizations.