Relevant bibliographies by topics / Temple of Zeus (Olympia, Greece)

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Academic literature on the topic 'Temple of Zeus (Olympia, Greece)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Temple of Zeus (Olympia, Greece)"

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Бондаренко, И. А. "COMPOSITION OF THE PARTHENON IN RELATION TO THE TEMPLE OF ZEUS IN OLYMPIA: PROPORTIONAL OBSERVATIONS." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 1(12) (February 17, 2020): 43–60. http://dx.doi.org/10.25995/niitiag.2019.12.1.002.

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Рассмотрение храма Зевса в Олимпии в качестве образца для Парфенона позволяет установить общность и отличительные особенности построения этих двух ключевых храмов классической Греции. Автор обнаруживает в Парфеноне ряд простых модульных размерностей, соответствующих кратному числу древнегреческих мер длины, а также величинам важнейших частей храма Зевса в Олимпии. Это приводит его к выводу о том, что архитекторы исходили из задачи скомбинировать в новом сооружении предустановленные значения некоторых отрезков длины, ширины и высоты, добиваясь при этом своим искусством ощущения сбалансированности и выразительности целого. Этот вывод существенно расходится с преобладающими сегодня, но недостаточно обоснованными представлениями о том, что такие выдающиеся произведения античной архитектуры, как Парфенон, были проникнуты насквозь изощренными пропорциональными закономерностями, во главе с так называемым «золотым сечением». Considering the temple of Zeus in Olympia as a model for the Parthenon allows us to establish the common and distinctive features of these two key temples of the Classical Greece. The author discovers in the Parthenon a number of simple modular proportions corresponded to the Ancient Greek measures of length, as well as to the dimensions of the most important components of the Temple of Zeus in Olympia. This leads to the conclusion that the architects proceeded from the task of combining in the new building the predetermined values of some segments of length, width and height, while at the same time achieving a sense of balance and expressiveness of the whole. This conclusion is significantly at variance with the prevailing but insufficiently substantiated idea that such outstanding works of ancient architecture as the Parthenon were imbued with sophisticated proportional laws, such as the so-called "golden section".
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Psycharis, Ioannis N. "A Probe into the Seismic History of Athens, Greece from the Current State of a Classical Monument." Earthquake Spectra 23, no. 2 (May 2007): 393–415. http://dx.doi.org/10.1193/1.2722794.

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Based on the current deformation of a column of the temple of Olympios Zeus (Olympieion) in Athens, Greece, a backward analysis is performed in an effort to investigate the seismic history of the area during the last 2,000 years that the monument has been standing. The analysis inevitably contains many ambiguities, due to the nonlinearity and sensitivity of the seismic response, and the unknown geometry of the structure during each era of its life. In spite of these drawbacks, conclusions can be drawn; these, however, should be verified by similar analyses of other nearby monuments. The results show that the present state of the monument could be the result of: many medium-size, typical, near-field earthquakes with a PGV around 30 cm/s and with an average return period of about 250 years; or a smaller number of stronger earthquakes with a PGV around 50 cm/s and a return period of about 500 years; or a single event with a PGV up to 100 cm/s. It seems unlikely that earthquakes containing pulses of long periods (greater than 1.2 sec) have occurred.
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Healy, Patrick. "Design, Demos, Dialectics: Max Raphael's theory of Doric architecture." Cubic Journal, no. 1 (April 2018): 108–23. http://dx.doi.org/10.31182/cubic.2018.1.006.

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The main focus of this paper is to examine the analysis offered of the Temple of Zeus at Olympia by Max Raphael in his study dedicated to the remains of the temple. The temple of Zeus at Olympia is often cited as the canonical example of Doric temple architecture and Raphael examines how a particular design can have such far ranging influence, to which end he elucidates the relationship of design to the activity of a participatory and democratic process specific to the Greek polis. By bringing to bear a highly dialectical analysis of the various forces at play in both construction and the elaboration of the temple, Raphael advances a brilliant interpretation which takes account of the social, spiritual and material dimensions at play and dissolves older academic understandings of the achievement of ‘classical art’.
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Barringer, Judith M. "The Temple of Zeus at Olympia, Heroes, and Athletes." Hesperia 74, no. 2 (June 2005): 211–41. http://dx.doi.org/10.2972/hesp.74.2.211.

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Barringer, Judith M. "The Temple of Zeus at Olympia, Heroes, and Athletes." Hesperia 74, no. 2 (2005): 211–41. http://dx.doi.org/10.1353/hes.2005.0005.

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Stissi, Vladimir. "Het onzichtbare Olympia." Lampas 54, no. 2 (January 1, 2021): 213–29. http://dx.doi.org/10.5117/lam2021.2.003.stis.

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Abstract Although ancient Olympia is usually viewed as a Classical Greek site, most buildings that are visible nowadays were not there yet when Pindar celebrated famous victors or Peisistratos and Alcibiades won their races. More generally, even though new research has substantially improved our knowledge, the early history of the site is often still neglected in introductory presentations of the site. In this article some important main issues are discussed. First, new excavations have revealed that Bronze Age occupation of the area cannot be connected to the later cult, as some scholars have argued in the past. The older remains were covered by flooding of the nearby rivers when the sanctuary was founded in the 11th century BCE. Up to the late 7th century the sanctuary remained an open area around a large ash altar. Its main structure was a large dam protecting it from floods. The temple now associated with Hera, built around 600 BCE, was the first monumental building of the sanctuary. Recent research suggests this may originally have been dedicated to Zeus, but this cannot be proven conclusively. The common idea that this temple was originally a wooden construction has now also been debunked.
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Bourke, Graeme. "The Eleian Mantic Gene." Antichthon 48 (2014): 14–36. http://dx.doi.org/10.1017/s006647740000472x.

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AbstractThe Eleian manteis who practised at the altar of Zeus in Olympia appear to have belonged to two separate gene, the Iamids and the Klytiads. This paper first considers the identity and number of the Eleian mantic gene and then questions the long-held assumption that the Iamid genos was the first to become established at Olympia. It is argued that the foundation myths that appear in Pindar and Pausanias are probably the result of the embellishment of pre-existing tradition in the Classical and Hellenistic periods. While neither archaeology nor further textual evidence entitles us to assume that mantic activity at Olympia predated the late Archaic period, an early Classical inscription, certain of the sculptures on the temple of Zeus and a later series of inscriptions from Olympia do make it possible to infer that two mantic houses, of which the Iamids were one and the Klytiads likely the other, were practising at Olympia from that time or earlier. Some reflection upon the limitations of myth as historical evidence is offered before the conclusion is reached that we cannot be certain that the Iamids constituted the senior house.
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Uson Guardiola, Ezequiel. "Deciphering the Greek Temple: Verification with Software Tools of the Solar Design of the Parthenon in Athens and the Temple of Zeus in Olympia." European Journal of Architecture and Urban Planning 2, no. 1 (January 26, 2023): 9–18. http://dx.doi.org/10.24018/ejarch.2023.2.1.19.

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In Greek temples, compositional order and Pythagorean geometry were used to achieve regularity, proportion and beauty, combining exact magnitudes between the parts and the whole. It is also known that all the temples were oriented with great precision. However, the diverse reasons for their construction makes their astronomical orientation more difficult to interpret. In this research, the Parthenon in Athens (447-436 BC) and the Temple of Zeus in Olympia (470-456 BC) were analysed with solar simulation software. Comparing the results obtained, it is verified that both temples were designed and oriented following a plan: to facilitate the symbolic use of sunlight for the veneration of the goddess Athena and the god Zeus on the dates of the celebration of certain religious rituals. Verification was performed using a process that allows its extrapolation to similar analyses of any other Greek temple.
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Younger, John G., and Paul Rehak. "Technical Observations on the Sculptures from the Temple of Zeus at Olympia." Hesperia 78, no. 1 (March 2009): 41–105. http://dx.doi.org/10.2972/hesp.78.1.41.

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Tersini, Nancy D. "Unifying Themes in the Sculpture of the Temple of Zeus at Olympia." Classical Antiquity 6, no. 1 (April 1, 1987): 139–59. http://dx.doi.org/10.2307/25010861.

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Dissertations / Theses on the topic "Temple of Zeus (Olympia, Greece)"

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Ott, Amanda Beth Crecelius. "A human narrative in the metopes from the Temple of Zeus at Olympia." 2004. http://etd.louisville.edu/data/UofL0026t2004.pdf.

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Books on the topic "Temple of Zeus (Olympia, Greece)"

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Gounarē, Emmanouela G. Ta ekmageia apo ta aetōmatika glypta tou Naou tou Dios stēn Olympia. Thessalonikē: University Studio Press, 2004.

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Paterakēs, Kleanthēs. To anatoliko enaetio tou naou tou Dia stēn Olympia. Rethymno: Panepistēmio Krētēs, Tmēma Historias kai Archaiologias, Tomeas Archaiologias kai Historias tēs Technēs, 2005.

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Becatti, Giovanni. Il maestro d'Olimpia. Firenze: Sansoni, 1990.

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Hungary) Olympia-Seminar (1st 2014 Budapest. New approaches to the Temple of Zeus at Olympia: Proceedings of the First Olympia-Seminar 8th-10th May 2014. Newcastle upon Tyne: Cambridge Scholars Publishing, 2015.

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Dörig, José. The Olympia Master and his collaborators. Leiden: E.J. Brill, 1987.

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Die Olympia-Skulpturen. Darmstadt: Wissenschaftliche Buchgesellschaft, 1987.

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Zeus und die griechischen Poleis: Topographische und religionsgeschichtliche Untersuchungen von archaischer bis in hellenistische Zeit. Rahden/Westf: VML, Verlag Marie Leidorf, 2007.

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Parke, H. W. Oracles of Zeus: Dodona, Olympia, Ammon. Harvard University Press, 2013.

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Indiana Miller and the Temple of Nemean Zeus. Athens: Foinikas Publications, 2010.

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Book chapters on the topic "Temple of Zeus (Olympia, Greece)"

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Worthington, Ian. "Hadrian’s Arch." In Athens After Empire, 313–36. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190633981.003.0016.

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The final chapter completes the narrative with an examination of Hadrian’s dealings with Athens, thanks to whom the city was again made prominent in the Greek world. After discussing Hadrian’s economic and constitutional arrangements for Athens, the chapter turns to the religious and intellectual life in the city and how these appealed to a polymath like Hadrian. Most importantly there is a focus on Hadrian’s Panhellenion, a league of cities of the East created by the emperor that made Athens its center. As a result, Athens’ reputation and prestige skyrocketed once again, and it became in effect the second city of the Roman Empire after Rome. The Panhellenion also spawned a burst of building activity under Hadrian not seen since the days of Augustus. The completion of the monumental Temple to Olympian Zeus was meant to be the focal point of the Panhellenion. A section on Hadrian’s Arch is also discussed, as the monument was commissioned by the Athenians and shows the extent of Hadrian’s power over the city, Greece, and the east. As a postscript, there is a broad brushstroke description of Athens after Hadrian, including the activity of Herodes Atticus and up to the Herulian sack.
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Bremmer, Jan N., and Andrew Erskine. "Zeus at Olympia." In The Gods of Ancient Greece, 155–77. Edinburgh University Press, 2010. http://dx.doi.org/10.3366/edinburgh/9780748637980.003.0009.

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Barringer, Judith M. "8 ZEUS AT OLYMPIA." In The Gods of Ancient Greece, 155–77. Edinburgh University Press, 2010. http://dx.doi.org/10.1515/9780748642892-013.

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Higgins, Michael Denis. "The Statue of Zeus at Olympia." In The Seven Wonders of the Ancient World, 103—C4F16. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197648148.003.0004.

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Abstract In 430 bce the Athenian sculptor Pheidias completed a monumental statue of Zeus so large that the seated figure almost filled a relatively modest temple. The statue was the focus of the sanctuary at Olympia, where Heracles (Hercules) was said to have initiated four yearly games in honour of the god. Zeus’s skin was represented by ivory, traded down from Central Africa, and the gold used for his hair and clothes was obtained from deposits around the Aegean. In his hand, he held a victory figure made of glass. The sanctuary lay beside the Alpheios River, on a stream terrace formed by the deposition of sediments produced by Neolithic cultivation of the hills to the north. The games were held for almost 1,200 years, but with the coming of Christianity, the statue was removed and its temple destroyed, either by natural or human activities. The ruins were buried by stream sediments, but the mechanism is much disputed: catastrophic theories, like tsunamis, have always been popular, but it is more likely to have been prosaic processes such as erosion triggered by hill farming, ironically the same process that made the original Olympia Terrace.
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Worthington, Ian. "Building a New Horizon?" In Athens After Empire, 287–312. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190633981.003.0015.

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Chapter 14 takes another break from the historical narrative to discuss the major Roman building projects in Athens, which some scholars argue brought about a Romanization of the city and led to its becoming a provincial one. The argument is made that despite Roman buildings, Athens remained a Greek city. The chapter discusses the Roman Agora; the Temple of Roma and Augustus in front of the Parthenon; Agrippa’s Odeum; the lesser public works under the post Julio-Claudian emperors; and Hadrian’s great building program (including the completion of the monumental Temple to Olympian Zeus (Olympieion), a library, an aqueduct), second only to that of Augustus, with a nod to the next chapter to explain why he did what he did. The funerary monument to Philopappus, not at the behest of an emperor but still part of a building program because of Roman style in its architecture, is also discussed. Finally, the chapter examines the transplanting of some temples from the Attic countryside during this period and why this occurred, and the reuse of earlier (especially Classical) statues dedicated to Romans, as part of a plan of the Athenians to keep their heritage alive and not have statues removed to Rome.
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Hurwit, Jeffrey M. "12. The Parthenon and the Temple of Zeus at Olympia." In Periklean Athens and Its Legacy, 135–46. University of Texas Press, 2005. http://dx.doi.org/10.7560/706224-016.

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Fagan, Brian. "Greece Bespoiled." In From Stonehenge to Samarkand. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780195160918.003.0007.

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The grand tour took the young and wealthy to Rome and Naples, but not as far as Greece, which had sunk into oblivion under its Byzantine emperors, who began to rule in A.D. 527. For seven hundred years Greece remained masked in obscurity as Crusaders, Venetians, and then Turks established princedoms and trading posts there. The Turks entered Athens in 1455 and turned the Parthenon and Acropolis into a fortress, transforming Greece into a rundown province of the Ottoman Empire. Worse yet, the ravages of wind, rain, and earthquake, of villagers seeking building stone and mortar, buried and eroded the ancient Greek temples and sculptures. Only a handful of intrepid artists and antiquarians came from Europe to sketch and collect before 1800, for Greek art and architecture were still little known or admired in the West, overshadowed as they were by the fashion for things Roman that dominated eighteenth-century taste. A small group of English connoisseurs financed the artists James Stuart and Nicholas Revett on a mission to record Greek art and architecture in 1755, and the first book in their multivolume Antiquities of Athens appeared in 1762. This, and other works, stimulated antiquarian interest, but in spite of such publications, few travelers ventured far off the familiar Italian track. The Parthenon was, of course, well known, but places like the oracle at Delphi, the temple of Poseidon at Sounion—at the time a pirates’ nest— and Olympia were little visited. In 1766, however, Richard Chandler, an Oxford academic, did visit Olympia, under the sponsorship of the Society of Dilettanti. The journey took him through overgrown fields of cotton shrubs, thistles, and licorice. Chandler had high expectations, but found himself in an insect-infested field of ruins: Early in the morning we crossed a shallow brook, and commenced our survey of the spot before us with a degree of expectation from which our disappointment on finding it almost naked received a considerable addition. The ruin, which we had seen in evening, we found to be the walls of the cell of a very large temple, standing many feet high and well-built, its stones all injured . . .
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Laky, Lilian de Angelo. "The coins of Olympia and the development of Zeus’ iconography in Classical Greece." In La monnaie dans le Péloponnèse, 259–68. École française d’Athènes, 2018. http://dx.doi.org/10.4000/books.efa.7932.

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Fant, Clyde E., and Mitchell G. Reddish. "Pergamum." In A Guide to Biblical Sites in Greece and Turkey. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195139174.003.0042.

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Pergamum is unquestionably one of the most impressive archaeological sites in all of Turkey. Pergamum’s attractions are hard to surpass—the breathtaking view from its theater carved out of the side of the acropolis, the magnificent restored Temple of Trajan, the foundations of the Great Altar of Zeus, the ancient healing center of Asclepius, the Temple of Serapis (the Red Hall), and the archaeological museum. A visit to Pergamum should not be rushed. There is much here to reward the patient visitor who will explore the riches of this ancient city. The site of ancient Pergamum is scattered in and around the modern town of Bergama, located in the western part of Turkey, approximately 65 miles north of Izmir. According to ancient mythology, Pergamum was founded by Telephus, king of Asia Minor and the son of Hercules (and thus the grandson of Zeus). Archaeological evidence indicates that Pergamum was settled as early as the 8th century B.C.E. Xenophon, the Greek historian who was involved in a mercenary expedition against the Persians, mentions that in 399 B.C.E. he and his soldiers spent some time at Pergamum. Little is known about Pergamum until the Hellenistic period, when Pergamum and all of Asia Minor came under the control of Alexander the Great. After the death of Alexander in 323 B.C.E., Lysimachus, one of Alexander’s generals (the Diadochoi) involved in the struggle for Alexander’s kingdom, eventually gained control of all of Asia Minor. He deposited a considerable amount of wealth in the treasury of Pergamum and placed one of his officers, Philetaerus, in charge. Philetaerus eventually turned against Lysimachus. After Lysimachus’ death, Philetaerus (r. 281–263 B.C.E.) used the money to establish a principality, with Pergamum as its capital. Unmarried (and supposedly a eunuch due to an accident), Philetaerus adopted his nephew Eumenes I as his successor. Eumenes I (r. 263–241 B.C.E.) was successful in defeating the Seleucid king Antiochus I at Sardis and expanding the rule of Pergamum throughout the Caicus River valley and all the way to the Aegean Sea. Upon his death, he was succeeded by his adopted son Attalus I Soter (r. 241–197 B.C.E.).
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Sacks, David. "C." In A Dictionary of the Ancient Greek World, 51–75. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195112061.003.0003.

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Abstract Cadmus In Greek MYTH, Cadmus (Greek: Kadmos) was a prince of the Phoenician city of Tyre and founder of the Greek city of THEBES. Young Cadmus’ sister at Tyre was EUROPA, whom the god ZEUS abducted in the shape of a bull. Cadmus was assigned by his father, King Agenor, to find the vanished Europa. Leading a band of men to central Greece, he consulted the god APOLLO through the oracle at DELPHI. Apollo advised Cadmus to abandon the search and instead follow a cow that he would find outside the temple; he should establish a city wherever the cow lay down to rest. Accordingly, the cow led Cadmus to the future site of Thebes, about 50 miles away. There Cadmus built the Cadmea, which became the citadel of the later city.
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