Dissertations / Theses: 'Painting, Greek Greece Athens'

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Xu, Jialin. "Techniques of red-figure vase-painting in late sixth- and early fifth-century Athens." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670015.

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Rosenzweig, Rachel. "Aphrodite in Athens : a study of art and cult in the classical and late classical periods /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.

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Thesis (Ph. D.)--University of Oregon, 1999.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-237). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.

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Hoyt, Sue Allen. "Masters, pupils and multiple images in Greek red-figure vase painting." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150472109.

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Fatsea, Irene D. "Monumentality and its shadows : a quest for modern Greek architectural discourse in nineteenth-century Athens (1834-1862)." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/65991.

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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.
Includes bibliographical references (p. 319-335).
The dissertation traces the sources of modern Greek architectural discourse in the first period of the modern Greek State following Independence and under the monarchy of Bavarian King Othon I (1834-1862). Its intent is to provide an informed account, first, of the intellectual and ideological dynamic wherein the profession of the modern architect developed in Greece in contradistinction to that of the empirical masterbuilder; and second, of the cognitive realm whereby modern Greeks formed their architectural perception relative to the emerging phenomenon of the westernized city. The dissertation offers a methodical survey of Greek sources of organized discourse on architecture authored mainly by non-architect scholars at the time. The focus of the writings is Athens, the reborn city-capital in which westernization manifested its effects most prominently. Monumentality, a concept with implications of cosmological unity and sharing in the same communicative framework, serves as a working conceptual tool which fa cilitates the identification, categorization, and analysis of different models of thought in reference to key architectural ideas (e.g., beauty, imitation, dignity). Special heed is paid to the writers' attitude relative to the country's monuments, both old and new, which were now considered the principal activators of ethnic unity, cultural assimilation, and national identification for diverse urban populations under the call for a return to the country's "Golden Age." The texts reveal that the urge for nation-building under the aegis of a centralized authority provided but little room for the development of disinterested discourse on architecture as opposed to instructive discourse which often followed the path of prescriptive or ideological reasoning. Bipolarity, moralism, reliance on precedent, and impermeability of boundaries were some of the characteristics of this reasoning. Architecture, in particular, was subjected to an ideologically-based dichotomy of classicism and romanticism which in theory obstructed any fruitful amalgamation of the two intellectual paradigms and which, in effect, displaced any organic/ evolutionist patterns of thought. The dissertation presents the discourse of the Greek philologist-archaeologists as the most influential in the shaping of the theoretical foundations of architecture as a new discipline, in the universalization of neoclassicism as the official style, and in the promotion of monumentality as the preferred rhetorical strategy toward the reacquisition of the country's ancient glory. The written and visual texts of the philologist- archaeologist Stephanos A. Koumanoudis (1818-1899) are set forth as telling witnesses of the relevance of this discourse to architecture, as well as of the positive and negative aspects of such a conjunction. The dissertation finally argues that organic practices of space use and manipulation with roots in the vernacular tradition persisted through the new era and informed people's response to building problems in the new city, yet now coupled with the rational categories of modernity as introduced by the aforementioned discourses.
by Irene Fatsea.
Ph.D.

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Thomas, Rosalind. "Studies in oral tradition and written record in classical Athens." Thesis, University College London (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314263.

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Hees, Brigitte. "Honorary Decrees in Attic Inscriptions, 500 - 323 B.C." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185480.

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In this dissertation Athenian inscriptions, granted during the fifth and fourth centuries down to the death of Alexander the Great, are analyzed. The evidence includes grants of citizenship, proxenia, epimeleia, enktesis, ateleia, and isoteleia to deserving foreigners. During the fifth century, Athens used these grants, particularly the proxenia, as one means to keep her predominant position in Greece. Other honors were also used for this purpose, such as the offer of protection, and to some degree citizenship honors. In their domestic affairs, Athenians used enktesis, ateleia, and isoteleia as rewards, especially for resident aliens. According to epigraphic evidence, the ateleia and isoteleia decrees show no increase during the fourth century, while the greatest number of proxeny decrees were passed from 353 to 323 B.C. Although honorary decrees were awarded liberally during this time, there was no steady increase from the fifth century down to 323 B.C. During the period from 399 to 354, the number of extant honorary decrees is rather small. Particular attention is paid to an analysis of the development of each honor, the identification of the individuals involved, and their relation to the Athenian people.

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Lawton, Carol L. "Attic document reliefs : art and politics in ancient Athens /." Oxford : Clarendon Press, 1995. http://www.perseus.tufts.edu/cgi-bin/ptext?doc=1999.04.0005.

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Lewis, David Correll. "Revealing the Parthenon's logos optikos : a historical, optical, and perceptual investigation of twelve classical adjustments of form, position, and proportion." Diss., Georgia Institute of Technology, 1994. http://hdl.handle.net/1853/23998.

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Villing, Alexandra Claudia. "The iconography of Athena in mainland Greece and the East Greek world in the 5th and 4th centuries BC." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390403.

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Procopos, Arthur S. "Greece, like Kronos, is Eating its Children : Small-Business People’s Responses to the Ongoing Economic Crisis in Athens, Greece." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/64042.

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This dissertation is concerned with the documentation and analysis of contemporary responses of a particular segment of Greek society to the economic crisis that has impacted on Greece, Europe and the wider capitalist world. Based on ethnographic research conducted in multiple sites, including the city of Athens and the village of Kandyla, I argue that dynamic contemporary connections exist between rural and urban Greece in relation to these responses. I also argue that contemporary responses to the crisis among this segment of society, notably small-business people, are constructed through and built upon strategies that have long histories in Greek village life and that are informed by responses to earlier crises, the memories of which are kept alive both materially and discursively. These responses are rooted in and performed in what Herzfeld has called “collective identification” evident in a set of shared sentiments among research participants regarding the valorisation of hard work and the principle of self-sufficiency, the parasitic nature of the Greek state, the constant production of insiders and outsiders in relation to the state, the use of reciprocity in business contexts, and the deployment of stereotypes regarding youths and politicians.
Dissertation (MSocSci) University of Pretoria, 2017.
Anthropology and Archaeology
MSocSci
Unrestricted

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Wagner, Claudia. "Dedication practices on the Athenian Acropolis, 8th to 4th centuries B.C." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:6f2e2c02-7bc0-43c0-843c-cc76217c1485.

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A society that regards nature as divine is constantly reminded of its dependence on the gods. It comes, therefore, as no surprise to find the sanctuary as major focus of the Greek community, in Athens literally occupying the centre of the city, the Acropolis. A central part of ancient religious life was the practice of offering gifts to the gods. The abundance of dedications on the Acropolis - which includes the full range from the simple terracotta figurines to exquisitely decorated pottery and life size marble sculpture - gives ample evidence of this. The Acropolis offers a unique opportunity to study the dedications of Athens' city sanctuary in its most important period of growth and power. The continued use of the sanctuary over centuries is not on all accounts a blessing. The history of the Acropolis and its buildings has yet to find a conclusive interpretation owing to the destruction of earlier evidence by later building phases. In Chapter II I give a brief summary of the different theories and their limits in satisfying all the evidence. The chapter is not intended as a detailed architectural study, but to establish as closely as possible when cults were introduced on the Acropolis and when building activity might have influenced the storage and disposal of dedications. The survival of the dedications themselves has been affected by the length of the sanctuaries' use. Different classes of objects have better chances of survival than others, some classes will have left no record in corpore. In Chapter III I introduce all sources: the objects (pottery, bronzes, sculpture, terracotta, etc.), the epigraphic and the literary evidence, and assess their value and completeness. The chapter is also an archaeological and iconographical study of the dedications. The objects are classified by type, and changes in decoration and shape of chosen dedications are explored. Flow charts show numerical changes in classes and types of objects during the centuries. In some cases it is also possible to make more conclusive statements about the dedicators. Inscribed names give the opportunity to recognize persons we know from history. I enquire into the identities and status of some of the dedicators and their motive for dedication and try to show how these motives might have changed with time. In Chapter IV the evidence concerning the placing of the dedications on the Acropolis is collected. What kind of dedications were stored in temple treasuries and if they were in the open (as statues), where were they placed on the Acropolis? In the conclusion I try to point out how changes in society and religion are reflected in the dedications.

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Hirschbichler, Monika. "Monuments of a syncretic society wall painting in the Latin lordship of Athens, Greece (1204-1311) /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3134.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Dibble, William F. "Politika Zoa: Animals and Social Change in Ancient Greece (1600-300 B.C.)." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin151203957883514.

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Kennedy, Rebecca Futo. "Athena/Athens on Stage: Athena in the Tragedies of Aeschylus and Sophocles." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1053353618.

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Thesis (Ph. D.)--Ohio State University, 2003.
Document formatted into pages; contains viii, 204 p.; contains ills., map. Includes bibliographical references (p. 193-204). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 May 19.

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McHugh, Sarah. "Renewing Athens : the ideology of the past in Roman Greece." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:edb6cac4-ff85-4635-9e66-f92524b7226c.

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In this thesis we explore the period of renewal that Athens experienced during the second century AD. This century saw Athens at the peak of her cultural prominence in the Roman Empire: the city was the centre of the League of the Panhellenion and hosted a vibrant sophistic scene that attracted orators from across the Greek world, developments which were ideologically fuelled by contemporary conceptions of Classical Athens. While this Athenian 'golden age' is a standard feature of scholarship on Greek culture under Rome, my thesis delves further to explore the renewal of the urban and rural landscapes at this time and the relationship between that process and constructions of Athenian identity. We approach the renewal of second-century Athens through four lenses: past and present in the Ilissos area; the rhetoric of the Panhellenion; elite conflict and competition; and the character of the Attic countryside. My central conclusions are as follows: 1. The renewal of Athens was effected chiefly by Hadrian and the Athenian elite and was modelled on an ideal Athenian past, strategically manipulated to suit present purpose; the attractions of the fifth-century golden age for this programme of renewal meant that politically contentious history of radical democracy and aggressive imperialism had to be safely rewritten. 2. Athens and Attica retained their uniquely integrated character in the second century. Rural Attica was the subject of a powerful sacro-idyllic ideology and played a vital role in concepts of Athenian identity, while simultaneously serving as a functional landscape of production and inhabitation. 3. The true socio-economic importance of the Attic countryside as a settled and productive landscape should be investigated without unduly privileging the limited evidence from survey, and by combining all available sources, both literary and documentary, with attention to their content, cultural context and ideological relevance.

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Walker, Lauren L. "Boiotian black figure floral ware : a re-analysis of the Southern style with an introduction to floral groups from Halíartos." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85212.

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Black Figure Floral Ware is an understudied style of pottery which was produced in Boiotia and the nearby regions of Euboia and Phokis during the fifth and fourth centuries B.C.E. Floral Style vases are painted with compositions formed predominantly of palmettes and lotuses rendered in black gloss without the incised details which are typically associated with Black Figure pottery. The corpus of Boiotian Floral Ware is divided into two sub-styles: the Northern Style and the Southern Style. The Northern Style is thought to have been produced in the area North and West of the Kopais while the Southern Style was chiefly produced in the Thespiai-Thebes and the Tanagra regions. To date our understanding of the development of the Southern Style has been based on systematically excavated floral evidence from Rhitsona (Ancient Mykalessos) and the Thespian Polyandrion and random vases from the Skhimatari Museum. Previous research incorrectly identified Tanagra as the primary source of Southern Floral Ware with little regard for Thebes as an important producer. Newly discovered ceramic evidence from four Theban cemeteries now indicates that Thebes was in fact a major producer of Floral Ware. The excavations have brought to light new floral groups and have provided evidence which indicates that vases previously identified as Tanagran or Euboian are more likely to be Theban.
This dissertation chronicles the morphological and iconographical development of the Southern Floral Style according to the systematically excavated floral vases from Rhitsona and the Thespian Polyandrion. Rim and base profiles from the Thespian Polyandrion, Thebes and Haliartos are classified and floral motifs from datable contexts are assigned to types. The evidence indicates that it is the overall shape of the vase and the decorative details within the compositions, rather than a specific rim or base type or compositional layout that identifies regional differences, if any. Newly excavated vases from Haliartos are presented not only to provide a contrast for the Southern Style Floral Ware, particularly in terms of their shape, but also in order to establish a bridge between this dissertation and any future studies of the Northern Style Floral Ware.

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SWINFORD, KATHERINE M. "THE SEMI-FIXED NATURE OF GREEK DOMESTIC RELIGION." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155647034.

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Brown, Andrew. "The common voice of the people : the importance of proclamation in Archaic and Classical Greece with special respect to Athens." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:e7521ced-6aee-4a2e-81bd-f1b28acb52f7.

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The Common Voice of the People is a study of the importance of heralds and their proclamations to the communal life of the ancient Athenian polis in the Archaic and Classical periods. This dissertation aims to contribute to the growing body of modern scholarship on issues of public communication, the tension between literacy and orality, the importance of ritual in the ancient polis, and the varied roles and identities of Greek heralds. While there has been a great focus in recent scholarship on literacy and the written record, the official place of orality within the Classical polis has been neglected, and until now there has never been a full scale study of heralds and their place within the community. Building upon the recent scholarship on news dispersal within the polis I have explored the positions and roles of the ancient Athenian heralds within their community, and the historical progression of the herald’s position from Geometric Greece to the end of the Classical world. I have sought to determine what their importance and the importance of their proclamations was to the proper functioning of the Athenian community. Marshalling evidence from both literary and epigraphic evidence I employed these deductions about heralds to further explore the importance of both official state and unofficial citizen proclamations in the spread of news and within established ritual. This work explores a range of topics concerning polis life such as religion, civil communication, public notice, private citizen disinheritances and manumissions, international communication, Imperial Athenian attitudes towards subject allies, and the necessity of proclamation to the conferral of honor. The Common Voice of the People demonstrates the depth of integration of heralds and oral communication within a variety of aspects of polis life, the surprising absence of heralds from certain central aspects of internal Athenian communication, and the continued importance of orality as both a practical and ceremonial aspect of official forms of communication and ritual in an increasingly literate classical Athens.

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Whitley, A. J. M. "Style, burial and society in Dark Age Greece : social, stylistic and mortuary change in the two communities of Athens and Knossos between 1100 and 700 B.C." Thesis, University of Cambridge, 1986. https://www.repository.cam.ac.uk/handle/1810/272700.

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Algrain, Isabelle. "L'alabastre attique: origine, forme et usages." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209979.

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L’alabastre attique est une forme de vase à parfum en céramique produite à Athènes entre le milieu du VIe s. av. J.-C. et le début du IVe s. av. J.-C. L’objet de cette thèse est de présenter une étude globale, inexistante à ce jour, sur l’alabastre attique. En plus d’un examen typologique de la forme, généralement mené dans le cadre de ce type de recherche, nous avons voulu proposer une lecture économique, culturelle et sociale de l’alabastre.

La première partie de cette thèse est consacrée à l’identification de l’origine de l’alabastre et à sa diffusion en Méditerranée orientale. L’alabastre est originaire d'Égypte, où les premiers exemplaires en albâtre se développent à partir du VIIIe s. av. J.-C. Après avoir tracé son évolution morphologique, la thèse met en évidence les diverses régions de la Méditerranée orientale telles que le Levant, la Mésopotamie ou la Perse, où la forme est exportée et copiée, le plus souvent par des ateliers qui produisent des vases en pierre. Cette première partie met également l’accent sur le statut particulier de l’alabastre en pierre en Orient et en Égypte, où il restera longtemps associé au pouvoir royal ou aristocratique. Elle traite enfin de l’apparition de l’alabastre et de son statut dans le monde grec oriental. Ces importations déclenchent une réaction presque immédiate chez les artisans de ces régions qui produisent des alabastres en argent, en verre, en faïence, en ivoire, en bois et en céramique.

La seconde partie de cette étude aborde la production de l’alabastre attique en céramique qui s’étend du VIe s. av. J.-C. au début du IVe s. av. J.-C. Un premier chapitre est consacré à l’étude de son introduction dans le répertoire formel au milieu du VIe s. av. J.-C. par l’atelier d’Amasis et aux inspirations probables de cet artisan. Cette section s’est également penchée sur le difficile problème des phases de la production et de l’organisation interne des différents ateliers. Pour ce faire, nous avons élaboré une méthode d’analyse basée à la fois sur l’examen minutieux du travail du potier grâce aux variations dans les profils des vases et sur les données obtenues par les études ethno-archéologiques pour tenter de différencier les alabastres produits au sein d’ateliers différents et d’identifier, quand cela s’avérait possible, différents potiers au sein d’un même atelier. Cette étude formelle a distingué trois phases différentes de production qui présentent des caractéristiques typologiques distinctes. L’examen de l’organisation interne des ateliers a également mis en évidence les caractéristiques morphologiques des vases et a identifié les potiers les plus importants. L’examen attentif des pièces céramiques a permis de regrouper au sein d’un même atelier des artisans dont les liens étaient jusqu’alors insoupçonnés. Enfin, la deuxième partie se clôture par une analyse de la carte de distribution des alabastres attiques

La troisième partie de ce travail porte sur la fonction et les différents usages de l’alabastre sur base des sources littéraires, épigraphiques, iconographiques et archéologiques. Cette section se penche plus particulièrement sur l’identification des utilisateurs privilégiés des alabastres. En effet, de nombreuses études lient, de manière presque systématique, l’alabastre au monde féminin. Ce propos mérite d’être nuancé car, si le vase apparaît à maintes reprises dans des contextes féminins tels que ceux de la toilette et de la parure, il ne constitue pas exclusivement un symbole du monde des femmes. Cette troisième partie met en évidence le fait que l’alabastre est également utilisé dans un grand nombre d’autres contextes, notamment rituels, et représente souvent un symbole de luxe et de raffinement à l’orientale.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Kreilinger, Ulla. "Anständige Nacktheit : Körperpflege, Reinigungsriten und das Phänomen weiblicher Nacktheit im archaisch-klassischen Athen /." Rahden/Westf. : Leidorf, 2007. http://www.vml.de/d/detail.php?ISBN=978-3-89646-982-3.

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Karampampas, Panas. "Dancing into darkness : cosmopolitanism and 'peripherality' in the Greek goth scene." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/10829.

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This thesis discusses concepts of cosmopolitism and peripherality in the Greek and wider European goth scene. The research took place primarily in Greece but extended to Germany, the United Kingdom and online as I followed the movement of Athenian goths who were searching for connectivity, hybridity and their cosmopolitan selves. In living a hybrid cosmopolitan identity, goths regularly challenge national stereotypes and transgress international boundaries. But sometimes the complexities of goth cosmopolitan identity may also contain unpalatable aspects, such as hard-core Greek or German nationalism and views that verge on xenophobia or anarchism that are seemingly at odds with the ‘open' and ‘egalitarian' persona put forward by Athenian goths. It is through performance (particularly dance) that Athenian goths choose to express their beliefs and desires, blending aspects of the contemporary goth scene with twists of ‘traditional' Greek ideas. Often performance, with all its paradoxes and hybrid contradictions, says more than words. Movement is at the centre of goth identity; the movement of ideas on social media, the physical movement of goths to overseas festivals and the exchange of opinions among goths at nightclubs in Athens all contribute to a hybrid cosmopolitan identity of a group of people who reside both on the geographical periphery of Europe and on the periphery of their own society. Goth identity is hybrid and complex with layers of peripherality being channelled toward becoming an ever-developing cosmopolitan subject. This thesis focuses on the core aspects of the goth life-project which aim for individuality, connectivity, movement and inclusivity. Being able to creatively display one's hybrid cosmopolitanism is the very essence of what it is to be goth.

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Kuebeck, Peter L. "Aliens and Amazons myth, comics and the Cold War mentality in fifth-century Athens and postwar America /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143218315.

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Breitenbach, Alfred. "Das "wahrhaft goldene Athen" die Auseinandersetzung griechischer Kirchenväter mit der Metropole heidnisch-antiker Kultur /." Berlin : Philo, 2003. http://catalog.hathitrust.org/api/volumes/oclc/53184471.html.

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Schizas, Nicholas. "A theological study of the frescoes painted by Spyridon Papaloukas in the cathedral of Amfissa." Thesis, University of Wales Trinity Saint David, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683253.

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Bowden, Chelsea Mina. "Isocrates' Mimetic Philosophy." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1331049173.

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Svedlund, Sofie. "Barnskrik i Hades? : Attityder till döda spädbarn i antika Grekland." Thesis, Uppsala universitet, Antikens kultur och samhällsliv, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-421036.

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In Homer’s work Iliad, Achilles is harassed in the sleep by the ghost of his friend Patroclus who demands a burial by him to be able to find peace. From this we get an understanding of how important it was for the ancient Greeks that their dead were given a proper burial for the soul to enter Hades and be able to find peace. If the deceased body was not buried, the soul became restless that harassed and had the power to harm the living. Infants belong to the group of individuals that do not appear to have had any consistent way of how to deal with them after they died. Some of them did not receive anything even close to a burial that a deceased adult would have received. Why infants were handled differently in certain contexts and locations is a mystery and begs the question of whether they were not considered to be people when they died and what was required to be considered worthy of a funeral when being dead. The purpose of this study was to investigate whether infants ended up in Hades or not, with the ancient Greeks' view of death and dead bodies as a theoretical starting point. To fulfill the purpose, the following questions were asked; how were dead infants handled? Were they considered to be 'real' individuals? How do the dead infants relate to the notions of becoming restless dead? To be able to answer these questions, I researched material from three different categories of evidence. The discussion has been divided into archaeological, iconographical, and literary sources. There are many different answers to the questions of this thesis as the different sorts of source material indicate diverse answers and attitudes to infants. It all probably depends on the different geographical places, economy, and status in society. These different answers also generate different attitudes to infants and whether they in fact were a real person. But through this thesis I have displayed factors that can support my theory about infants in Hades and that they – in worst case scenario – could end up like restless dead.

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Samara, Samia. "Les politiques de protection et de sauvegarde des sites archéologiques et des monuments historiques en Grèce (1830-2013) : le cas d’Athènes." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100067/document.

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Cette recherche est consacrée aux pratiques de protection des monuments à Athènes, et ce depuis l’Indépendance. Elle est ainsi associée à une analyse précise de la législation, des débats qui l’ont accompagnée et des pratiques de sauvegarde des monuments historiques et des sites archéologiques de la capitale. Ce travail espère contribuer ainsi à une meilleure connaissance de l’évolution de la notion de patrimoine en Grèce. Une évolution qui est ponctuée par les évènements politiques qui ont mené à la construction de l’État grec pendant tout un siècle, mais aussi par les différentes ratifications des conventions européennes et internationales relatives à la protection du patrimoine. Cependant, la traduction de ces instruments normatifs s’avère contraignante dans un pays où l’héritage culturel est associé essentiellement aux témoignages matériels conformes à l’histoire nationale. Le régime patrimonial grec s’orchestre de ce fait, non sans difficultés, à une notion de patrimoine en perpétuelle évolution. Cet héritage qui était un bien national à l’image d’un peuple homogène héritier de la Grèce antique et de l’Empire byzantin devient aujourd’hui synonyme de legs diversifiés et produits de différentes « communautés ». Athènes à qui l'on a réfuté les témoignages « post-byzantins » inaugure aujourd’hui son premier « archontikó » ottoman
This research is devoted to the practical conservation of monuments in Athens since Independence. It is thus associated with a precise analysis of the legislation, debates that accompanied it, as well as practical conservation of historical monuments and the capital of archaeological sites. This work hopes to contribute to a better understanding of the evolution of the concept of heritage in Greece. This evolution is punctuated by political events that led to the construction of the Greek State for a whole century, but also by the different ratifications of European and international conventions concerning the heritage protection. However, the translation of these normative instruments proves compelling in a country where cultural heritage is associated primarily with material evidence in accordance with the national history. Greek patrimonial regime orchestra thus not without difficulty, to a notion of heritage in constant evolution. This legacy was a national asset for the image of a homogeneous people heir of ancient Greece and the Byzantine Empire now becoming synonymous with diverse legacies and products of different "communities". Athens who are denied the "post-Byzantine" testimony today inaugurated its first "archontikó" Ottoman

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Fries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art." University of Sydney, 2008. http://hdl.handle.net/2123/5709.

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Master of Visual Arts
This Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.

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Neer, Richard Theodore. "Pampoikilos representation, style, and ideology in Attic red-figure /." 1998. http://books.google.com/books?id=XIzWAAAAMAAJ.

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Thesis (Ph. D.)--University of California, Berkeley, May 1998.
"Spring 1998." "UMI Number: 9902178"--Prelim. p. "Printed in 2005 by digital xerographic process on acid free paper"--P. after T.p. Includes bibliographical references (p. 273-295).

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Ryan, Adrian John. "Computer aided techniques for the attribution of Attic black-figure vase-paintings using the Princeton painter as a model." Thesis, 2009. http://hdl.handle.net/10413/458.

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Pieterse, Tamaryn Lee. "The animal dimension : an investigation into the signification of animals in Homer and archaic Attic black figure vase painting." Thesis, 2000. http://hdl.handle.net/10413/5799.

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The aim of this dissertation was to investigate the representation of specific types of animals as they occurred in Homer and archaic Attic black figure vase painting with a view to understanding bow they were most likely perceived in antiquity. This involved determining the underlying concepts around which each animal was constructed by comparing and contrasting the imagery presented in the Homeric works and archaic Attic black figure vase painting. The primary objective was to suspend modern and westernized conceptions and to attempt to approach the animal as from an ancient perspective. The Homeric works were chosen as representative of the literary evidence since these poems offer the most complete, oldest extant literature and are the result of a dynamic and continuous oral tradition. Similarly, archaic Attic black figure vase painting was considered the most suitable corpus of artistic evidence since the 6th century BC was a time when the artists actively engaged with and manipulated their themes and subject matter within an established tradition; this artistic fabric presents a parallel with the Homeric evidence. As a result of this investigation, clear and discrete concepts and images were determined for each animal.
Thesis (M.A.)-University of Natal, Durban, 2000.

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Kim, SeungJung. "Concepts of Time and Temporality in the Visual Tradition of Late Archaic and Classical Greece." Thesis, 2014. https://doi.org/10.7916/D8VT1QQJ.

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This dissertation presents, for the first time, a freestanding account of notions of time and temporality as seen in the visual arts of the late Archaic and Classical Greece and contextualizes it within the larger cultural history of time. There is a growing consensus among scholars regarding a societal shift in fifth-century Greek attitudes towards time, from the authority of the past to the uncertainties and the immediacy of the present. This dissertation explores such changing notions of time in the visual tradition in four different ways: firstly through the personification of the key notion of kairos, which embodies on many levels the manifestation of this new temporality; secondly by investigating the emergent interest of the "historical present" in the artistic subject matter of the so-called Historienbilder; thirdly through a detailed investigation of new pictorial strategies in Greek vase painting that carry specific temporal attributes, by focusing on the motifs of jumping, lifting and dropping; and lastly, by dissecting the anatomy of the popular motif of "erotic pursuits" in vase painting, which embodies the sensory nature of this new temporality that hinges upon the notion of suspense and delay. These investigations employ a new phenomenological framework that centers on the "embodied viewer", connecting the temporality as understood by the viewer with that which is portrayed in the object, bringing together the visible temporality in art and the experienced temporality of the society, which the viewer inhabits. This framework is first sketched out by offering a phenomenological reading of a full 3-D digital reconstruction of the Lysippan Kairos. Such changes in the notion of time in the visual arts, seen as early as the late sixth century BCE and fully manifest in the Classical period, is also put into relief by a brief examination of analogous literary techniques, with a focus on the case of Aeschylus.

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Olsson, Viveca. "The Lenaia vases revisited : image, ritual and Dionysian women /." 2006. http://www.loc.gov/catdir/toc/fy0712/2006502425.html.

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Sanders, Kyle Austin. "The concept of autochthony in Euripides' Phoenissae." Thesis, 2014. http://hdl.handle.net/2152/25781.

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Euripides’ Phoenissae is a challenging work that is often overlooked by scholars of Greek drama. This study analyzes how the concept of autochthony occupies a central thematic concern of the play. On the one hand, autochthony unites humans to soil, political claims to myths, and present to past. On the other hand, autochthony was often invoked to exclude foreigners, women and exiles from political life at Athens. We observe a similar dichotomy in the Phoenissae. Autochthony unites the episode action–the story of the fraternal conflict—with the very different subject matter of the choral odes, which treat the founding myths of Thebes. By focalizing the lyric material through the perspective of marginalized female voices (Antigone and the chorus), Euripides is able to problematize the myths and rhetoric associated with autochthony. At the same time, Antigone’s departure with her father at the play’s close offers a transformation of autochthonous power into a positive religious entity. I suggest that a careful examination of the many facets of autochthony can inform our understanding of the Phoenissae with respect to dramatic structure, apparent Euripidean innovations, character motivation, stage direction and audience reception.
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Lather, Amy Kathleen. "Cooperative commemoration : Simonides on the Persian Wars." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5501.

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The name ‘Simonides’ has long been associated with the Persian Wars. More specifically, Simonides is famous in large part because of his commemoration of the Persian War dead in the form of epigrams. The purpose of this paper is to investigate a set of four of the most famous and most distinctively ‘Simonidean’ poems to the end of delineating their stylistic deviations from conventional epitaphic speech. This paper argues that the specific ways in which Simonides departs from the conventions of epigrammatic language serve to convey a distinctively democratic ethos. This ethos is clear in that Simonides’ epigrams privilege the mass efforts of the collective, and do not praise any particular individuals over another. Moreover, that these poems do not include the sort of identifying details that we would normally expect to find in epigrams anticipates a readership that is uniformly knowledgeable about the events of the Persian Wars. This represents another facet of the egalitarian ethos evident in this group of epigrams, as Simonides treats his readers as equally aware of the events of the Persian Wars. Thus, Simonides assumes a unified, panhellenic identity that characterizes both the subjects of his poems as well as his readers: they are all part of the same entity that defeated the Persians. Simultaneously, however, Simonides, or at the very least, the Simonidean name, achieves his own kleos as an individual poet through his distinctive commemorations of the Persian War dead. With these poems comes the emergence of a Simonidean poetic persona that renders the poet’s voice unique because of the way in which Simonides diverges from epigrammatic convention. The allotment of immortal kleos both to the anonymous, undifferentiated masses of Persian War dead and to the name ‘Simonides’ reflects two distinctive ideologies, the latter archaic and the former classical. My reading of these epigrams thus demonstrates how the commemoration of the Persian Wars is poised between two different eras and two different ideologies.
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Dissertations / Theses on the topic 'Painting, Greek Greece Athens'

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