most csak egy rφvid ιletjelt adok, pαr nap mϊlva νrok bυvebben. Megvagyunk, kicsit sϋrϋ az ιlet pesten, gondolom Athιnban is, ahogy a nem tϊl gyakori levιlvαltαsbσl ιrzem... de azιrt remιljόk jσl vagytok. Sokat emlegetόnk Gabival, ιs most mαr Mαrtival is. Szerencsιre ez az elυadαst sikerόlt megszervezni. A kφnyvet megkapja... [.... ](szinte napi kapcsolatban vagyunk, φrόlόnk hogy megismertόk egymαst a Ti jσvoltotokbσl)
Nagyon hiαnyoztok, sok szeretettel gondolunk Rαtok, puszi mindenkinek, Gabi/Gαbor
Kedves Spyros, Amerso, Panagiotis, Tassos,
kόlφn kόldφm ezt az infσt, a levelemtυl fόggetlenόl, ha van olyan barαtotok Magyarorszαgon akit ιrdekelhet...
Pνreusi Estιk - kαvιhαzi beszιlgetιsek
)
kφvetkezυ, februαri elυadαsαt
a Kariatνdαk - Gφrφg-Magyar Nυk Kulturαlis Egyesόlete - rendezιsιben
Pintιr Mαrta: Lιlek ιs tαnc cνmmel, az σkori gφrφg zene ιs tαnckultϊrαrσl tartja
Comic angels : and other approaches to Greek drama through vase-paintings /
Oliver Taplin 1994, 1993 English Book xii, 129 p., [24] p. of plates : ill., 1 map ; 24 cm. Oxford : Clarendon Press, ; ISBN: 019814797X 0198150008 (pbk.) Get This Item # Availability: Check the catalogs in your library. Libraries worldwide that own item: 34 Find Related More Like This: Search for versions with same title and author | Advanced options ... Title: Comic angels : and other approaches to Greek drama through vase-paintings / Author(s): Taplin, Oliver. Publication: Oxford : Clarendon Press, Year: 1994, 1993 Description: xii, 129 p., [24] p. of plates : ill., 1 map ; 24 cm. Language: English Standard No: ISBN: 019814797X; 0198150008 (pbk.) LCCN: 92-17227 SUBJECT(S) Descriptor: Vase-painting, Greek -- Themes, motives. Vases, Greek -- Italy, Southern. Greek drama (Comedy) -- Themes, motives -- Illustrations. Greek drama (Tragedy) -- Themes, motives -- Ilustrations. Theater in art. Theater -- Greece -- History -- Sources. Identifier: Decorative arts; Pottery; History; Greece Note(s): Includes bibliographical references (pix-xii.-Includes indexes). Class Descriptors: LC: NK4645; Dewey: 738.3820938 Responsibility: Oliver Taplin. Document Type: Book Entry: 19940928 Update: 20040507 Accession No: OCLC: 31374741 Database: WorldCat
The Museum of Classical Antiquities is an integral part of the Department of Classical Studies. The collections are used for teaching Classical Archaeology and Ancient History as well as the classical languages. The Museum is also open to the general public. http://www.lu.se/klass/klasspr/museum/museng.html
The Korybantes, called the Kurbantes in ( Phrygia ), are the crested dancers who worship the Phrygian goddess Cybele with drumming and dancing. The Kuretes are the nine dancers who venerate Rhea the Cretan counterpart of Cybele.
These male dancers in armor, kept time to a drum and the rhythmic stamping of their feet. Dance, according to Greek thought,was one of the civilizing activities, like wine-making or music. The dance in armor (the "pyrrhic dance" or pyrriche)was a male coming-of-age initiation ritual linked to a warrior victory celebration.
The wild ecstasy of their cult can be compared to the female Maenads who followed Dionysus . Ovid in Metamorphoses saysthey were born from rainwater, Ouranos fertilizing Gaia , which might connect them with the Pelasgian Hyades .
The Phrygian Korybantes were often confused with other ecstatic male confraternities, such as the Idaean Dactyls or the Cretan Kouretes, who acted asguardians of the infant Zeus . In the Greek telling of Zeus ' birth, the Kouretes' ritual clashing spears and shields were interpreted as intended to drown out the infantgod's cries, and prevent his discovery by his father Cronus .
The French classicist Henri Jeanmaire has convincingly shown that both the Kouretes and Cretan Zeus (called "the greatest kouros" in Cretan hymns) were intimately connected with the transition of young men(kouroi) into manhood in Cretan cities (in Couroi et Courètes. Essai sur l'éducation spartiate et sur les ritesd'adolescence dans l'antiquité hellénique, Lille, 1939).
Korybantes or Kouretes also presided over the infancy of Dionysus , another godwho was born as a babe, and of Zagreus , a Cretan child of Zeus.
Although the Greek imagination tends to portray the Korybantes as mythical and virile, they may be modeled on the real world transsexual followers of Cybele in Phrygia , known at Rome as galli ; the Greek construction of gender would have tended to suppress these links.
Alternatives: Corybants (older English texts), Koryvandes (modern Greek transliteration).
External links
* Korybantes and Kuretes * Long review (in English) of Paola Ceccarelli, La pirrica nell'antichità greco romana: Studi sulla danza armata, 1998
Die Zeit des wirtschaftlichen Aufschwungs wurde von Roland Hampe (1957-1975) zu einem kräftigen Ausbau des Instituts genutzt. Die Originalsammlungen wurden durch bedeutende Neuerwerbungen besonders im Bereich der griechischen Frühzeit stark erweitert. In dem neuen Kollegiengebäude am Marstallhof wurden die Original- und die Gipsabguss-Sammlung in musealer Ausstellung mit dem Institut vereinigt. In Verbindung mit der Heidelberger Akademie der Wissenschaften wurde von Hampe eine Forschungsstelle "Antike Mythologie" zur Mitarbeit an dem internationalen "Lexicon Iconographicum Mythologiae Classicae" eingerichtet, die einen neuen interdisziplinären Schwerpunkt darstellte.
"The papers cover a wide area. Topics range from the padded dancers of Corinth (Seeberg) to Roman drama in the late republic (Jory); some focus on close studies of particular texts (Sidwell, Griffiths), others handle more general themes (Dedoussi, Easterling). Some tackle the literary side of ancient drama (Davidson, Barlow, Segal), while others deal with the recent vogue of drama as depicted on vases of the 4th century (Dearden, Trendall, Green). Nothing on papyri, however, that other source of new dramatic material, with which Handley had much to do. There is certainly an international flavour -- contributions from scholars in the U.K., Eire, Greece, Australia, and New Zealand (curiously, none from the U.S. or Canada -- we can consider Erich Segal effectively "translated" to Wolfson, Oxford).
This volume certainly lives up to the archetype of the Festschrift. Taken together, the articles are a mixed lot, in several cases not really breaking very much new ground or dealing generally with topics on a large scale. Two longer papers (Sidwell, Green) stand out in the collection, and here we do get some new and exciting material, although in Sidwell's case I confess that I can't agree with very much of his thesis (see further below). Segal and Sifakis likewise raise new points for consideration, and with Sifakis (like Sidwell) I found myself disagreeing with much of what I read. Comments on the individual papers follow; as I feel much more comfortable with the literary pieces, these will occupy more of my review.
A. Seeberg ("From Dancers to Comedy" 1-12) is somewhat heavy going, especially for one not readily familiar with the Corinthian padded dancers. The question at issue is whether the "komasts" on such vases belong in any way to the pre-history of comedy, and S. does make a good case for these vases containing scenes of symposia and representing people that are "a negation of the symposion code" (3). Like the characters of comedy they are ugly and "outsiders". He argues further that vases with many such dancers represent not a private symposion but a public festival, and it is here that the link with comedy may lie -- on p. 9 he suggests the Rural Dinoysia as that link. On p. 6, however, his relation of the padded komos to the "chieftain class" and thence to Athenian politics of the 480s is speculative and not convincing. One can imagine reasons for the institution of comedy in 487/6 that have little to do with the crisis of the 480s. He observes that the comic actor comes later on vases and thus comedy for many decades may have depended more on choral performance than on actor-driven plots, but his supposition of "Aristophanic comedy without actors" (8) seems quite unfounded. S. ends with a digression on the "foreign look" and why it might occur on these vases -- could not the "Oriental influence" be due to the Eastern overtones of Dionysos as much as to foreign sources for the vases?"
www.arts.usyd.edu.au/departs/classical/dropbox/socbibl ... Theaters in Rahmen der gesellschaftlischen Auseinandersetzungen zur Zeit der Republik Hephaistos 7-8 ... 1967) A. Seeberg, Corinthian Komos Vases (BICS Supp
Combining the study of games with a wider discussion on cultural influences was popular to various degrees among most of the authors of the period. Some scholars mentioned only similarities between games, while others dealt with the problem more thoroughly. The latter can be found in J. Mouratidis' 'Are there Minoan influences on Mycenaean sports, games and dances?', which has cultural contacts and influences between games as its main theme.104 There are even studies, for example, 'Board games in the Eastern Mediterranean: some aspects of cultural interrelations' by P. Bielinski and P. Taracha, that use games as a medium or an instrument in a general discussion on diffusion and interaction between cultures.105 http://gamesmuseum.uwaterloo.ca/Archive/Hillbom/content.html
The purpose of this paper is to throw some light on the reasons behind the appearance of the first Minoan palaces. Focus shall be given on the economic and social conditions of that period as well as on the architectural remains of the first palaces.
A PRELUDE: THE EARLY MINOAN PERIOD The early Minoan period shows many important advances in culture from the rather monotonous picture created by the Neolithic period. Metallurgy begins to flourish, pottery becomes more elaborate, seals are minutely worked and the architecture becomes more complex. Unfortunately, due to the sparsely of well-excavated sites, the EM period is in some ways a confusing one archaeologically (Renfrew 1972:81-2, Branigan 1970:16). However, we are able to divide this period into 3 sub-periods the EM I, EM II and EM III. Each of these is mainly defined on the basis of new pottery shapes and fabrics.
Early & Middle Minoan ChronologyEarly Minoan I (EM I) 3300 - 2900 BC Early Minoan II (EM II) 2900 - 2300 BC Early Minoan III (EM III) / Middle Minoan IA (MM IA) 2300 - 1900 BC Middle Minoan IB / IIA (MM IB / IIA) 1900 -1750 BC Middle Minoan IIB / IIIA (MM IIB / IIIA) 1750 - 1700BC Middle Minoan IIIB (MM IIIB) 1700 - 1600 BC Adapted from Dickinson 1994 : 11
EM I is characterised by the so-called Pyrgos, Ayios Onoufrios and Lebena wares. The main characteristic of these wares is the burnished patterns (Branigan 1970:22, Hood 1990). In EM II the fashion for pattern burnish fades out, and a new type of ware known as Vasiliki makes its appearance, especially in eastern Crete. The Vasiliki ware is a mottled fabric produced by differential firing on the vessel (Branigan 1970:30). Towards the end of the EM period wares with an overall wash and decoration in white become increasingly prominent at Knossos and in eastern Crete (Hood 1990:31-2).
If we move to architecture, most of the settlements known to us are of EM II onwards. The most important are those of Vasiliki and Fournou Korifi, Myrtos. At Vasiliki a large house was excavated on a hilltop, which many scholars believe to be a mansion. The building was never completely excavated and we have the plan of what appears to be two wings. It is very possible that there were two further wings, but we cannot be certain. The existing wings are very impressive and consist of a number of rectangular rooms of fair size. The lower parts of the walls are of stone, while above were sun-dried bricks tied by wooden beams vertical and horizontal. The walls were covered with plastered clay with a fine red finish (Pendlebury 1979:62-3, Branigan 1970:44-7).
Another settlement showing similarities with Vasiliki is that excavated by Warren at Fournou Korifi in Myrtos [view plan](Warren 1972). The architectural complex seems to contain over 100 rooms and areas, most of them quite small. The exact boundaries of the settlement are largely eroded but it is almost certain that it did not extend much beyond the excavated area. Warren has argued that the settlement functioned as an integrated whole; 'the form of a single large complex without separately defined houses suggests a social organisation based on a single large unit, a clan or tribe living communally and perhaps not differentiated into individual families, and quite without any apparent chief or ruler' (Warren 1972:267). On the other hand, Branigan (1970:47-9) using the same evidence comes to different conclusions. He believes that the site at Fournou Korifi is a precursor of the early palaces with important men occupying these houses. Whitelaw gives a quite different interpretation. He views the site as a 'small, egalitarian, rural community, whose basic unit of organisation was the nuclear family' (Whitelaw 1990:336). Whatever interpretation we may choose one thing becomes clear; both sites imply a move towards a more complex society, with some hints of hierarchy being developed. Finally, another very interesting find is the so called 'Hypogeum' at Knossos, a large underground chamber, probably dome-shaped, with a staircase leading down from the top. It is probably of an EM II date, and may have been used as granary (Renfrew 1972:97). Again such a construction implies a social complexity due to the fact that only a well - structured, hierarchical society could undertake such a project.
In general, the EM period marks the beginning of a new era for Crete. It is during this period that the island witnesses a growth in population and the development of larger communities. According to Branigan (1995:39) these changes must have created tension in the traditional social structure and must have reduced the significance of the kin-group. Additionally, we have the emergence of social ranking, reflected in burial architecture, grave goods, and the appearance of monumental architecture (e.g. the building at Palaikastro, with walls 2m thick and measured at least 27m x 23m). These social transformations can be considered as part of the process necessary for the rise of the first palaces.
THE FIRST PALACES: THE ARCHAEOLOGICAL EVIDENCE (ARCHITECTURE) Intermediate in date between the sites of Vasiliki and Myrtos and the first palaces, come the EM III - MM I buildings south of the palace at Malia, the houses inside the western enceinte wall at Knossos and the oval house at Khamaizi. The buildings at Malia seem architecturally to comprise three distinct units but in their small rooms and passages and in the close-knit structure of the whole complex both continue the cellular form of Myrtos and anticipate that of the palace at Phaistos (Warren 1987:49). From the houses at Knossos only the basements remain but in one case there are two floor levels separated by 50cm of filling (Pendlebury 1979:99). The oval house at Khamaizi is of great significance because like the palaces is built round a central open court or light well (Pendlebury 1979:100).
The foundation of the first palace at Knossos must be put at the end of MM IA as the outer walls and the deep walled pits in the NW area indicate (Warren 1987:49). In addition, magazines 3-10 and probably 11-16 were also part of the original palace structure (Branigan 1987:247). The palace at Malia also dates from MM IA, with the central court already established. Recent excavations have revealed monumental architecture and cult areas (a main room measuring 9 x 7.20m) beneath the later Quartiers III and IV (Cherry 1986:27, Warren 1987:48). Additionally, it seems very probable that the main elements of the town at Malia developed at the same time as the palace. Certain similarities between the first palace, the Hypostyle Crypt and Quartier Mu [image], all imply a functional complementarity of buildings issued from the same general programme (Poursat 1987:75). Phaistos [old palace room image] has revealed a complex sequence of building phases, indicating the following: phase Ia began with the southern block of the west wing, a cellular complex of rooms laid out with an impressive west facade against a paved court. In phase Ib, the northern block of the west wing was added, a complex of small interconnected rooms and some store magazines. Branigan (1987, 1988) has divided the remains of the phase I palace into six architectural units. Finally at Zakros a substantial building complex was revealed under the NE part of the LM I palace but with different orientation (Warren 1987:49).
At this point we should point out that the early palaces of Knossos, Phaistos and Malia, all included storage areas such as the West Magazines at Knossos and the so called koulouras (cylindrical ditches). At Knossos three koulouras [image] were found in the West Court and one in the Northwest corner under the Theatral Area. They are dated in the MM IB period and they were used only during the MM IB-IIIA periods (Strasser 1997:75). Many scholars have interpreted their function as granaries (Branigan 1988:64-6, Cadogan:31, Warren 1987:50) but other explanations too have been offered (Strasser 1997). If we accept them as granaries we can estimate that those at Knossos could store 5000cwt of grain, that is a year's supply for perhaps 1000 people (Branigan 1987:246-47, 1988:64-6). At Phaistos four koulouras [image] were found in the West Court, dated in the second and third proto-palatial phases. Branigan (supra) has estimated that they could store 1500cwt of grain, a year's supply for perhaps 300 people. We should point out that all these koulouras were subterranean in contrast to the eight above-ground circular structures found in the SW corner of the palace at Malia [image]. The construction of them is dated to MM I and unlike those at Knossos and Phaistos, they continued to be used in the Second Palace period (Strasser 1997:78).
Middle Minoan Crete also witnessed the construction of a substantial number of buildings side by side with the first palaces, having an official character. For example, we have Quartier Mu and the Hypostyle Crypt at Malia and a building similar to the Crypt at Phaistos (Driessen and Schoep 1995:653). Finally it is very possible that peak sanctuaries also represent a kind of official public work although they have rarely been seen as such (supra:655). Most scholars link their appearance with the emergence of the palaces only in socio-political terms.
THE REASONS BEHIND THE ESTABLISHMENT OF THE PALACES Existing studies of state formation in Bronze Age Crete vary from extreme positions of external influence (even causation), to equally extreme explanations in wholly endogenous terms. On the one hand, there is the view that the Near Eastern influence on EM III - MM I Crete is extensive, with many of the Near Eastern political and religious institutions being adopted by the Cretans (Watrous 1987).On the other hand, many scholars believe that the state formation process has its roots on Crete itself, a process that was shaped by the local economic and social conditions (Branigan 1970, 1995, Cadogan 1976, Renfrew 1972). In addition, much emphasis has been given on the nature of this process. Can we talk of a steady, cumulative process or of a revolution? Again scholars come up with quite different answers. Branigan (1970) for example, prefers an evolutionary or gradualist approach while Cherry (1984:22) believes that 'the appearance of state-like polities was in many respects a rapid and discontinuous phenomenon'.
But let us have a closer look at the different explanations given by the various scholars. Watrous (1987:65-70) has argued that the MM I period marks the beginning of a close relationship between Crete and the Near East. It is during this period that a number of new vase shapes imitative of Near Eastern appear on Crete, and worship on peak sanctuaries begins. Cretan and Near Eastern cult and divine iconography shows many similarities and the first Minoan palaces are definitely similar to those of Near East, at least as far as the monumentality is concerned. However Graham (1968) after reviewing the architectural origins of the palaces, proposed that any similarity with the Near Eastern palaces (i.e. Mari) was only superficial and that they were designed and developed by the Cretans themselves, responding to local needs. This was confirmed after the excavations at Vasiliki and Myrtos that showed many similarities with the architecture of the first palaces.
Scholars such as Branigan, Renfrew and Halstead believe that the first palaces were the result of an endogenous process, though they come up with different reasons behind that process. Renfrew (1972:297) has argued that 'the growth of the palaces has to be seen in the first instance as the development of redistribution centres for subsistence commodities, controlled by a well-defined social hierarchy'. This subsistence/redistribution model emerged as a consequence of the intensive exploitation of a new spectrum of food plants, notably olives and vines. This led to local specialisation because some arable land was suited to cereals and some to olives and vines. As a result, redistributive chiefs emerged, who gradually became very powerful (Renfrew 1972:480-82). However, Halstead (1981, 1988) has argued that the main function of the first palaces was not simply operating as redistributive centres as suggested by Renfrew, but actually being 'relief redistributors', that is to provide food in cases of famine. He believes that the risk of crop failure causing famine can be reduced by storing the surplus from good years. However, surplus grain is not always a very secure asset (easy to be eradicated) but the limitations of direct storage can be tackled by indirect storage (e.g. grain given to needy neighbours in the expectation that they will also help in a case of emergency). This is called 'social storage'. Although it sounds very altruistic, it is 'inherently likely to lead to increasing inequalities of wealth, status and power...' (Halstead 1988:525). As we can see, social storage establishes both motive and opportunity for the development of a centralised redistributive system with a relief function, namely a palace. Branigan comes and reinforces the notion that the main role of the first palaces was that of a depository/redistributor (Branigan 1988:65-6). As we have already seen the storage capacities of the first palaces were far in excess of the likely grain needs of the occupants.
However, Cherry (1984:26) has drawn attention to similar social and environmental conditions of other Mediterranean islands in the preceding 3rd millennium BC, none of which developed a palatial society like that of Crete. Branigan (1988, 1995) identified some unusual features of Early Bronze Age society in Crete, which may give an answer to the problem. First of all, the population growth in Crete between the Late Neolithic and the end of EM II is perhaps greater than that in the West Mediterranean islands. In addition, there is also a greater emphasis on the nuclear family and the individual. Second, there is increasing evidence for the emergence of social ranking and elites during EM II and EM III. This is mainly attested by the first appearance of monumental architecture. Warren (1987:53) also gives emphasis on the fact that in the case of Knossos and Malia, the palaces came into being 'within already strongly developed urban environments'.
It is certainly not meant to imply that the function of the first palaces was purely economic or that their development can be explained only in economic terms. On the contrary, the palaces fulfilled various functions, including religious activity. Therefore we have to take into consideration religion too. Cherry (1986) has argued that there is a chronological correspondence between the emergence of the first palaces and the appearance of the peak sanctuaries. As he put it: 'this peak-palace nexus reflects a deliberate attempt by the political and economic special interest groups in Minoan polities to consolidate their power by the communal performance of ritual activities revolving around unverifiable sacred propositions' (Cherry 1986:31).
All these transformations may not completely explain the use of the first palaces but at least they provide social conditions in which state formation is facilitated.
CONCLUSION This paper has tried to throw some light on the problems associated with the rise of the first palaces in Crete. Looking at the archaeological evidence which is available to us we can understand that the foundation of the first Minoan palaces cannot be seen as a discontinuous phenomenon or a 'quantum leap'. On the contrary, the state formation process took place over a lengthy period of time, starting as early as from the EM period. It is during that period that significant changes occurred in Crete. Population increased and settlements became larger and more complex. This is mainly reflected in the architecture. These changes created tension in the traditional social structure; the individual seems to became more important than the kin-group and social ranking emerged. As societies became larger and more complex, new needs were created leading to the establishment of the first palaces. Presumably, these early palaces came to life in order to fulfil an economic role primarily, that is of the redistribution of agricultural products. It is not strange therefore, that focus was given to storage areas. Of course, it is not proper to explain the rise of the palaces only in economic terms. Religion also must have played a very important part and this is verified by the appearance of peak sanctuaries roughly at the same time as that of the first palaces.
BIBLIOGRAPHY * Branigan, K. (1970), The Foundation of Palatial Crete. London.
* Branigan, K. (1987), "The Economic Role of the First Palaces". In R. Hagg and N. Marinatos [eds], The Function of the Minoan Palaces. Proceedings of the 4th International Symposium at the Swedish Institute in Athens, 10-16 June, 1984. Stockholm. p. 245-248.
* Branigan, K. (1988), "Some Observations on State Formation in Crete". In E. French and K. Wardle [eds], Problems in Greek Prehistory. Bristol. p.63-70.
* Branigan, K. (1995), "Social Transformations and the Rise of the State in Crete". In R. Laffineur and W-D Niemeier [eds], Politeia: Society and State in the Aegean Bronze Age. Aegaeum 12. Vol. 1.Universite de Liege, University of Texas at Austin. p.33-40.
* Cadogan, G. (1976), Palaces of Minoan Crete. London.
* Cherry, J.F. (1984), The Emergence of the State in the Prehistoric Aegean. Proceedings of the Cambridge Philological Society. Vol. 30. p. 18-48.
* Cherry, J.F. (1986), "Polities and Palaces: Some problems in Minoan State Formation". In C. Renfrew and J.F. Cherry [eds], Peer Polity Interaction and Socio-political Change. Cambridge. p. 19-45.
* Dickinson, O. (1994), The Aegean Bronze Age, Cambridge University Press.
* Driessen, J. and I. Schoep (1995), "The Architect and the Scribe. Political Implications of Architectural and Administrative Changes on MM II-IIIA Crete". In R. Laffineur and W-D Niemeier [eds], Politeia: Society and State in the Aegean bronze Age. Aegaeum 12. Vol. 2. Universite de Liege, University of Texas at Austin. p. 649-664.
* Graham, J.W. (1968), "The Cretan palace: sixty-seven years of exploration". In A Land called Crete. Northampton, Mass. p.17-44.
* Halstead, P. (1981), "From Determinism to Uncertainty: Social Storage and the Rise of the Minoan Palace". In A. Sheridan and C. Bailey [eds], Economic Archaeology. BAR Int.Series 96. Oxford.
* Halstead, P. (1988), "On Redistribution and the Origin of Minoan-Mycenaean Palatial Economies". In E. French and K. Wardle [eds], Problems in Greek Prehistory. Bristol. p. 519-530.
* Hood, S. (1990), The Arts in Prehistoric Greece. (3rd ed.). London.
* Pendlebury, J.D.S. (1979), The Archaeology of Crete. (2nd ed.). London.
* Poursat, J-C. (1987), "Town and Palace at Malia in the Protopalatial Period". In R. Hagg and N. Marinatos [eds], The Function of the Minoan Palaces. Proceedings of the 4th International Symposium at the Swedish Institute in Athens, 10-16 June 1984. Stockholm. p.75-76.
* Renfrew, C. (1972), The Emergence of Civilisation. London.
* Strasser, T. (1997), "Storage and States on Prehistoric Crete: The Function of the Koulouras in the First Minoan Palaces". Journal of Mediterranean Archaeology. Vol. 10(1). p. 73-100.
* Warren, P.M. (1972), Myrtos. London.
* Warren, P.M. (1987), "The Genesis of the Minoan Palace". In R. Hagg and N. Marinatos [eds], The Function of the Minoan Palaces. Proceedings of the 4th International Symposium at the Swedish Institute in Athens, 10-16 June, 1984. Stockholm. p. 47-56.
* Watrous, L.V. (1987), "The Role of the Near East in the Rise of the Cretan Palaces". In R. Hagg and N. Marinatos [eds], The Function of the Minoan Palaces. Proceedings of the 4th International Symposium at the Swedish Institute in Athens, 10-16 June, 1984. Stockholm. p. 65-70.
* Whitelaw, T.M. (1990), "The Settlement at Fournou Korifi, Myrtos and Aspects of Early Minoan Social Organisation". In O. Krzyszkowska and L. Nixon [eds], Minoan Society. (end ed.). Bristol. p. 323-340.
Collection: Collection of Gay H. Cone, St. Louis Summary: Side A: Hermes, Cerberus and Sisyphos in Hades. Side B: three komasts. Ware: Attic Black Figure Shape: Neck amphora Painter: Attributed to the the Kleophrades Painter Potter: Context: Region: Date: 500 B.C. Period: Archaic Dimensions: Primary Citation: ABV, 405, no. 19
Shape Description:
Neck amphora.
Essay: Moon No. 78
Attic Black-Figure Neck-AmphoraKleophrades Painterca. 500 B.C.Lent by Gay H. Cone, Webster's Grove, St. Louis. Ex collections D. M. Robinson and George Mylonas.
The Vase: h. 41.3 cm; w. 27.8 cm; d. of base 7.7 cm; d. of neck 9.0 cm. Mended from several large fragments, with a large triangular patch in plaster on B across maenad's body. Section of lip repaired; minor chips and surface abrasion. The inside of the neck is glazed and there is a reserved line near the top. Top of rim, insides of handles and underside of foot reserved. The handles are triple-ribbed. Tongue-patterns, alternately red and black, at base of neck; rays above foot; under handles, palmette fans on spidery tendrils, with pointed lotusbud and diamond enclosure, dotted, at the center of the arrangement. Lotus chain under picture connected at every other position on top. In pencil, under foot: E 8698.
Decoration: Side A: a scene in Hades, with Hermes, Cerberus and Sisyphos. Hermes, wearing his usual dress of chlamys, petasos and winged boots, carries the kerykeion in his right hand and gestures to Sisyphos with his left. Sisyphos, waging eternal battle with the rock, turns toward Hermes. Cerberus scrutinizes Hermes with one head, Sisyphos with the other. The gates of Hades are represented architecturally, with unfluted Doric columns which divide the scene in two. The columns have echinus and abacus, and the architrave, which is above only one column, is accentuated by a broad, white stripe. There are two pairs of incised annulets under the echinus; between these, on the upper part of one column, there are three zigzags. Added red: fillet in Hermes' hair, his beard and the wings on his boots; Cerberus' mane has alternate red and white tufts; Sisyphos' beard, fillet, border on chiton. Added white: Cerberus' teeth and mane; architrave; border on Sisyphos' rock. Side B: a party of three revelers (komasts). The woman, perhaps a maenad, moves to the right and wears an animal-skin (nebris); two bearded men, clothed around the waist, both walk to the right, one on either side of her. The maenad has turned back to look at the companion who carries the wine skin; the man in front of her has a knobby staff in his right hand. Added red: ivy wreaths (alternate leaves), beards, dots and thin stripes on woman's garment, wine-skin. Added white: woman's flesh.
Only four complete black-figure neck-amphorae by this painter have survived; a neck-amphora from Vulci, now Würzburg L 222 (ABV, 405, no. 20), is closest in style to the St. Louis vase. Side A bears a kitharode between columns, the architectural features of which and the manner in which they divide the scene recall those between Hermes and Sisyphos. Side B of the Würzburg vase depicts a maenad on a donkey with Dionysos along side: the position of Dionysos with back-turned head and legs apart duplicates the attitude of Sisyphos. The shape and position of the palmette fans and the fibrous wire-like tendrils on which the fans are perched are comparable; the Würzburg neck-amphora has a predella of lions and boars while Mrs. Cone's vase does not. On the fragment of the neck-amphora, Frankfort B 286, ivy branches separate Dionysos and Hephaistos as the columns had on the other neck-amphorae. Whether this fragment is by the Kleophrades Painter or a pupil, figure-style, composition and subsidiary decoration are close.
The Kleophrades Painter's neck-amphorae were probably decorated in the same early period of his career as the calyx-krater at Harvard 1960.236 (ARV2, 185, no. 31). On this krater, satyrs struggle to lift bulky, weighty objects -- an enormous volute krater for instance -- as Sisyphos does with his rock. Beazley called this krater "very early" and the satyrs are given bodies with little musculature, long arms and rounded shoulders comparable to the rendition of the komasts and Sisyphos. Sisyphos' pose is nearly identical to that of a komast, who is the central figure on Side B of an amphora type A (Würzburg L 507: ARV2, 181, no. 1), another vase which is called "very early." The figure directly behind this komast recalls the reveller carrying the wine-skin on Side B of Mrs. Cone's vase.
The Kleophrades Painter was a noteworthy vase decorator and his talents, by virtue of the quantity of his work which has survived, must have been in great demand. As often occurs to meet demand, an artist will depend upon fixed types and formulate. One need only compare the figure of Sisyphos -- moving to the right, legs apart, frontal chest, carrying a large object, head turned back -- to the reveller on the other side of the very same vase. Perhaps his persistence in using such figural types was something of a dodge from dealing with the third dimension in a studied and consistent way. This he attempts later in some of his red-figure work, e.g. back view of Ajax on Side A of an amphora type A (Würzburg L 508: ARV2, 182, no. 5) and in these efforts he recalls his mentor, Euthymides.
At one time Hauser (JHS 30 [1910] 38-68) and other scholars believed the work of the Kleophrades Painter to have been a later stage of the great Euthymides himself (Hoppin 1917, 40). Beazley attributed two of the Kleophrades Painter's neck-amphorae -- Würzburg L 222 (ABV, 405, no. 20) and New York 41.162.189 (ABV, 405, no. 17) -- to the Eucharides Painter, a pupil of the Nikoxenos Painter who worked both in black and red-figure ("Panathenaica," AJA 47 [1943] 447). Eucharides and Kleophrades Painters decorate a large number of black-figure Panathenaic prize-vases in the late sixth and early fifth century. Although we call him the Kleophrades Painter -- after the potter's name "Kleophrades" on a cup in the Cabinet des Médailles (ARV2, 181) -- his actual name is known. The painter signs Epiktetos EGRAPHSEN on both sides of a red-figure pelike, Berlin F 2170 (ARV2, 185, no. 28).(Note *) This vase is late in his career and of so little artistic merit that the conventional name has stuck. His three-figure compositions and his delight with komasts and revellers, among other aspects, prove the Kleophrades Painter's interaction, not only with Euthymides but with the Eucharides Painter. In this regard one need only compare the komasts on the Cone neck-amphora with figures on Side A of the pelike by the Eucharides Painter in this exhibition (University of Chicago 1967.115.68). Other practitioners, contemporary to the Kleophrades Painter, have similar compositions and figure-style and designed both in black and red-figure: the Dikaios Painter, the Troilos Painter and the Goettingen Painter. The latter's column krater, once on the Paris market (ARV2, 235, no. 9), is especially close; on Side A a fellow leans over a laver or basin.
Scenes of Hades and the particular treatment on this vase have recently been discussed: JDI 73 (1958) 48ff (with other bibliography). The Cone neck-amphora is rare in that Kore or Persephone is not depicted (see Toledo 1950.261, shoulder).
Bibliography: ABV, 405, no. 19; Brommer 1973, 550, no. 9; Para., 176, no. 19; D.M. Robinson, "Unpublished Greek Vases in the Robinson Collection," AJA 60 (1956) 15-16 and pls. 12-13; K. Schauenburg, "Die Totengötter in der Unteritalischen Vasenmalerei," JDI 73 (1958) 50. W.G.M. Notes:
*) This attribution has since proven to be false: see Boardman 1981 and vase entry for Berlin F 2170.
Marcelle Azra Hincks' column on dance (titled variously): Hincks believes modern dance can revive the glory it had in ancient times and become a significant art form in England; she looks to the Russian ballet--and dancers like Anna Pavlova and M. Mordkin--for her models, as well as to the anthropological study of dance in primitive societies.
William C Scott 1984 English Internet Resource Computer File xxi, 228 p. ; 23 cm. Hanover, N.H. : Published for Dartmouth College by University Press of New England, ; ISBN: 0585275610 (electronic bk.) Get This Item Access: http://www.netLibrary.com/urlapi.asp?action=summary&v=1&bookid=34302 # Availability: Check the catalogs in your library. Libraries worldwide that own item: 275 Find Related More Like This: Search for versions with same title and author | Advanced options ... Find Items About: NetLibrary, Inc. (5) Title: Musical design in Aeschylean theater Author(s): Scott, William C. 1937- (William Clyde), Corp Author(s): NetLibrary, Inc. Publication: Hanover, N.H. :; Published for Dartmouth College by University Press of New England, Year: 1984 Description: xxi, 228 p. ; 23 cm. Language: English Standard No: ISBN: 0585275610 (electronic bk.) Access: Materials specified: Bibliographic record display http://www.netLibrary.com/urlapi.asp?action=summary&v=1&bookid=34302 Note: An electronic book accessible through the World Wide Web; click for information SUBJECT(S) Descriptor: Music, Greek and Roman -- History and criticism. Greek drama -- Incidental music -- History and criticism. Greek drama (Tragedy) -- History and criticism. Drama -- Chorus (Greek drama) Named Person: Aeschylus -- Dramatic production. Aeschylus -- Stage history. Genre/Form: Electronic books. Note(s): Includes bibliographical references (p. [223]-224) and index./ Reproduction: Electronic reproduction./ Boulder, Colo. :/ NetLibrary,/ 2000. Class Descriptors: LC: ML169; Dewey: 782.8/3/0938 Responsibility: William C. Scott. Document Type: Internet Resource; Computer File Entry: 20001009 Update: 20040502 Accession No: OCLC: 45730824 Database: WorldCat
C.M.J. Sicking is Professor of Greek Language and Literature at the University of Leiden. He has published on Greek aspect usage and on Greek metre, as well as on the interpretation of a number of Greek authors.
Professore Associato Confermato Settore L-ANT/07 - Archeologia Classica Struttura: Sito della struttura di afferenza: Afferenze: Facolta' di Lettere e Filosofia http://users.unimi.it/discanti/ Dipartimento di Scienze Dell'Antichita' Orario ricevimento studenti: lunedi, 14.00-17.00
Literacy and Paideia in Ancient Greece Kevin Robb Add to Cart 0195059050, hardback, 320 pages Aug 1994, In Stock Price: $60.00 (04) Shipping & Handling: $5.25 (US), $10.00 (INTL) Description This book examines the progress of literacy in ancient Greece from its origins in the eighth century to the fourth century B.C.E., when the major cultural institutions of Athens became totally dependent on alphabetic literacy. By introducing new evidence and re-evaluating the older evidence, Robb demonstrates that early Greek literacy can be understood only in terms of the rich oral culture that immediately preceded it, one that was dominated by the oral performance of epical verse, or "Homer." Only gradually did literate practices supersede oral habits and the oral way of life, forging alliances which now seem both bizarre and fascinating, but which were eminently successful, contributing to the "miracle" of Greece. In this book new light is brought to early Greek ethics, the rise of written law, the emergence of philosophy, and the final dominance of the Athenian philosophical schools in higher education. Reviews
"[A] magisterial study...[and] a major contribution."--Religious Studies Review
"This book is fitting tribute to Havelock's lasting influence and the permanent changes he made in our thinking about the culture of ancient Greece....In so short a review I cannot do justice to the richness and breadth of Robb's learning....His views are always balanced and in my opinion usually right....The great strengths of Robb's book is to tie the nature and forms of ancient Greek culture directly to the technology of writing that supported it."--American Historical Review
"This is an important book...and it is scarcely possible to do it justice in the space of a short review....a learned and original book with a great deal for all classicists, whether they be historians, epigraphers, philologists, or students of Greek law, literature, or philosophy."--Language in Society
"This book is an intellectual jackpot, the sort of book that habitual reviewers yearn to receive and for which they plug precious quarter-hours into tomes with promising titles....For linguists of all interests, this book will richly repay study."--Language
"...Robb has read widely in the specialist literature on all of the topics he discusses, and he formulates a framework for understanding his subject in its full scope."--American Journal of Philology Product Details 320 pages; 6 b/w illus.; 6-1/8 x 9-1/4; 0-19-505905-0
About the Author(s)
Kevin Robb, Professor of Philosophy, University of Southern California
"Merle Langdon (University of Washington) spoke about "Cult in Iron Age Attica". He confined his remarks to funerary practice and sanctuary sites, excluding tomb or hero cult and evidence for Athenian activity at other sites. Buildings in the Academy, Thorikos and Anavyssos located near Middle or Late Geometric cemeteries were associated with a familial funerary cult; Langdon did not discuss the structures (so-called sacred houses) at Lathuresa, Eleusis or Velatouri. On the Acropolis, fragmentary ceramic material may be connected with an Iron Age cult of Athena, but there is no architecture to accompany it. Bronze tripods possibly served as prizes in funeral games, rather than an early Panathenaia. Aside from the Acropolis, only four other Attic sites were of importance: a sanctuary of Artemis Mounichia in the Piraeus, with material dating from the 10th c. to the Classical period; Eleusis, with very tenuous evidence for an Iron Age cult which Langdon doubted was a mystery cult; Brauron, which saw activity by the later 8th c.; Mt. Hymettos, with its cult of Zeus Ombrios (published by Langdon in 1976) was important throughout the Iron Age. Langdon suggested here that not all the material on Hymettos should be regarded as votive; the cups should not necessarily be taken as indications of ritual dining, but were humble farmers' offerings or used to make a simple libation. Langdon ended by offering an assessment of Athens different from that of F. de Polignac and other scholars who have followed his analysis of Iron Age cult (La naissance de la cité grecque, Paris 1984). Rather than accepting in Athens a unique polis because of its one cultic 'pole' (the Acropolis), Langdon suggested that Argos, which provides a bipolar model for cult location (city and extramural sanctuary) is actually atypical. In the discussion of this paper, the presence on the Acropolis of sherds of Dipylon style vases, i.e. funerary vessels, was noted. We were left wondering if their lack of context renders this meaningless (S. Morris), or if burials might have been made on the Acropolis so late, or whether such vases were appropriate offerings in an early cult of Kekrops (J. Neils)."
”Communicative Aspects of Ancient Greek Dance”, Arctos 31 (1997) 175-187.
”Theft and Taxes. A Series of Short Documents (P.Petra inv. 69. 1-8)”, Atti del XXII Congresso Internationale di Papirologia, Firenze 1998. Istituto Papirologico «G. Vitelli», Firenze 2001, vol. II, 1281-1286.
Emploi actuel - Current occupation: Academy of Finland, University of Helsinki, Researcher
Adresse - Address: Helsingin Yliopisto (University of Helsinki), Institutum Classicum, P.O. Box 4 (Vuorikatu 3 A), FIN-00014 University of Helsinki, Finlande - Finland
The archeologist Marjaana Vesterinen works as an assistant at the Finnish Institute in Athens. Her special field is papyrology, and she studies ancient pantomime dance. Ancient pantomime dance is also the topic of her lecture at the Department of Theatre Research. She will discuss the character of the art form, attitudes towards it, as well as the sources that are available for researchers. Vesterinen will particularly concentrate on what Lukianos (2nd century AD) wrote about pantomime in his essay "On Dancing".
Office: 914 Van Hise Hall 1220 Linden Drive University of Wisconsin-Madison Madison, WI 53706
Phone: 608/262-2041
Email: bbpowell@facstaff.wisc.edu
Courses
* Use this link for syllabus for Classics 370, CLASSICAL MYTH, SPRING 2003 TR 9:55-10:45, Room 125 Ag Hall
* Use this link for Prentice-Hall website for Barry Powell's Classical Myth
SIXTH CENTURY ORIGINAL, OR MODERN FAKE??
RESEARCH INTERESTS
1. Greek poetry (esp. Homer)
2. History of writing
3. Mythology
4. Egyptology
PUBLICATIONS
BOOKS
* GREEK CIVILIZATION. Review of the historical, artistic, literary, and cultural background of ancient Greece, from the Bronze Age to Alexander the Great (with Ian Morris) (forthcoming Prentice-(2004) * * HOMER. Succinct review of modern criticism (forthcoming, Blackwell , 2003). * * Writing and the Origins of Greek Literature (Cambridge University Press, 2002), including chapters on the oral and the written in Greek and Near Eastern traditions; composition in writing and the dictated text; the origin of mythic representation in Greek art from eastern exemplars; social role of the rhapsode; uses of alphabetic literacy and the demoticization of Greek legend
* A Short Inttroductioin to Classical Myth (Prentice-Hall, 2002) * eview http://ccat.sas.upenn.edu/bmcr/2002/2002-02-18.html
* A New Companion to Homer, editor (with Ian Morris; E. J. Brill, 1997). Essays on Homer by many scholars
* Classical Myth. (Prentice-Hall, 1995; 2nd edition, 1997; 3rd edition, 2000; 4th, 2003). Greek and Roman myths in their historical, social, literary, and anthropological context * * eview: http://ccat.sas.upenn.edu/bmcr/1995/95.05.03.html
* Homer and the Origin Of the Greek Alphabet (Cambridge University Press, 1991; reprinted, 1993, 1994; paperback, 1996). How one man invented the alphabet to record Homer's verse * eview: http://ccat.sas.upenn.edu/bmcr/1991/02.05.15.html * * Composition by Theme in the Odyssey (Beitr ge zur klassischen Philologie, Meisenheim am Glan, 1977). Generative patterns of composition in tales told in the Odyssey se *
SCREENPLAY
THE WAR AT TROY , under option by Paul Aratow Productions
CHAPTERS IN BOOKS
* Articles on eiresias, alchas, opsus in Holy People of the World: An Encyclopedia (forthcoming ABC-CLIO, 2002)."Seals and Writing in the Ancient Near East and Cyprus: Conclusions from Context," forthcoming, AIA publication series for colloquia and conference papers (2002) 227-248 * * The Inventor of the Alphabet: A Retrospective," in Die Geschichte der Hellenischen Sprache und Schrift, Verein zur Foerderung der Aufarbeitung der Hellenischen Geschichte (Ohlstadt/Oberbayern, Germany, 1999) 435-447 * * Writing and Homer," in A New Companion to Homer, eds. Barry B. Powell and Ian Morris (E. J. Brill, Leiden, 1997) 1-32
* "From Picture to Myth, From Myth to Picture: Prolegomena to the Invention of Mythic Representation in Greek Art," in From Pasture to Polis (University of Missouri Press, 1997) 144-193
* Writing, Oral Poetry, and the Invention of the Narrative Style in Greek Art," in The Odyssey and Ancient Art: An Epic in Word and Image (catalogue for traveling exhibition organized by Bard College, Annandale-on Hudson, New York, 1992) 180-185
* "The Origins of Alphabetic Literacy Among the Greeks," in Phoinikeia Grammata. Lire et ̩crire en M̩diterran̩e, Collection d'̩tudes classiques, vol. 6 (Li̬ge, Belgium, 1991) 357-370
* "The West, the Non-West, Liberal Education, and Sophocles' Antigone," in Cultural Literacy and the Core Curriculum," A Report of the Meiklejohn Education Foundation's 1990 Curriculum (Sonoma, California, 1991)
OTHER SCHOLARLY PUBLICATIONS
The Alphabet in Theory and in History, The Gail A. Burnett Lectures in Classics (2000, Department of Classics, San Diego State University, California): 25 printed pages
SCHOLARLY ARTICLES
* "Text, Orality, Literacy, Tradition, Dictation, Education, and other Paradigms of Exegesis," Oral Tradition (2001): 96-125
* "Who Invented the Alphabet: The Semites or the Greeks?" Archaeology Odyssey 1 (1) (Premiere issue, 1998): 44-53; 70.
* "Did Homer Sing at Lefkandi?" Electronic Antiquity 1 (2) (1994): 1-27
* "The Orazio Lirico of Giorgio Pasquali: Its Place in His Career and in the History of Horatian Scholarship," Syllecta Classica 3 (1991): 37-44
* "The Greek Alphabet, A Writing That Changed the World," Intent (1991)
* "Why Was the Greek Alphabet Invented? the Epigraphic Evidence," Classical Antiquity 8 (1989): 321-350
* "The Dipylon Oinochoe Inscription and the Spread of Literacy in 8th Century Greece," Kadmos, Zeitschrift f̹r vor- und fr̹hgriechische Epigraphik 27 (1988): 65-86
* "The Origin of the Puzzling Supplementals F X C," Transactions of the American Philological Association 117 (1987): 1-20
bstract in Linguistics and Language Behavior Abstracts (1989)
* "Egyptian Religion and Anthropophagy in Juvenal's Fifteenth Satire," Rheinisches Museum f̹r Philologie 68 (1978): 1-5
* "The Linguiform Atlatl Weight: Toward a Reformed Typology of the Polished Stone Gorget," Wisconsin Archaeologist 59 (1978): 358-378
* "Word Patterns in the Catalogue of Ships: A Structural Analysis of Homeric Language," Hermes 106 (1978): 255-264
* "The Significance of the So-Called 'Horns of Consecration,'" Kadmos, Zeitschrift f̹r vor- und fr̹hgriechische Epigraphik 16 (1977): 70-82
* "Poeta Ludens: Thrust and Counter-thrust in Eclogue 3," Illinois Classical Studies 1 (1975): 113-121
* "The Ordering of Tibullus Book 1," Classical Philology 69 (1974): 107-112
* "Narrative Pattern in the Homeric Tale of Menelaus," Transactions of the American Philological Association 101 (1970): 419-431
BOOK REVIEWS IN
* American Historical Review * American Journal of Archaeology * Archaeology Odyssey * Bryn Mawr Classical Review * Cambridge Archaeological Journal * Electronic Antiquity * Wisconsin Academy Review * Hebrew Studies * Intent * Journal of Roman Studies * Religious Studies Review * Scholia
RADIO SHOWS
* Homer, four one-hour shows hosted by Norman Gilleland and Emily Auerbach, WHA-FM (University of the Air) (September 1997)
* Classical Mythology (with Denis Feeney), four one-hour shows hosted by Norman Gilleland and Emily Auerbach, WHA-FM (University of the Air) (July 1996; rebroadcast, May 1998)
* The Origins of Writing, WNWC radio, Madison, February 5, 1989; WHA radio, Madison, February 10, 1989 (rebroadcast November 1, 1989)
The »papers (donor no. 34) were donated by» Lillian Lawler in 1984.
ACCESS:
The »papers are open for research.
PHOTOGRAPHS:
In box »1.
PROCESSED BY:
Your name, year»Donald L. Denis, 1993.
»Biography
Begin text here:»Lillian Beatrice Lawler was born June 30, 1898, in Pittsburgh, Pennsylvania. She received a bachelor's degree in 1919 from the University of Pittsburgh, and M.A. and Ph.D. degrees from the University of Iowa in 1921 and 1925. From 1923 to 1925, she was an instructor in classics and art history at the University of Iowa. After a year of further study at the American Academy in Rome, she was an assistant professor of classics at the University of Kansas, Lawrence, from 1926 to 1929.
By far the largest portion of Lillian Lawler's career took place at Hunter College in New York. Beginning as an instructor in 1929, she underwent a series of changes in title and responsibilities, culminating in her achievement of the rank of full professor in 1955 and professor emeritus status in 1959. In the years from 1928 to 1935, she was also an Archeological Institute of America travelling lecturer. She was a visiting professor at the University of Iowa from 1961 to 1967, and remained a resident of the Iowa City area until her death on December 13, 1990.
Scope and Content Note
Begin text here:»The Lillian Lawler papers measure 2.5 linear inches and date from 1911 to 1968. The bulk of the contents date from Lawler's years teaching at Hunter College, traveling, photographing, and publishing articles (1930 to 1960). The papers are arranged in four series: Reprints, Journals, Photographs, and Miscellaneous.
The Reprints series consists of reprints of twenty-seven articles by Lawler, primarily on the subject of dance in ancient Greece, but also on such topics as marriage in ancient Italy and women's fashion in Roman Africa, reprinted from the American Journal of Philology, The Classical Journal, Classical Philology, Proceedings and Transactions of the American Philological Association, and Studies Presented to David Moore Robinson.
Journals include accounts of journeys to Rome and around Europe in 1925, including a visit with Pope Pius XI and much visiting of ancient sites of classical interest; and trips to Bermuda in 1931, to Greece in 1936, and to Australia. There is also a list of plays staged by the State University of Iowa (University of Iowa) from 1959 to 1968.
The Miscellaneous series is comprised of a Pittsburgh High Schools Christmas 1911 issue of High School Journal; a pamphlet advertising an educational Mediterranean cruise for students of Teachers College, Columbia University, to be taught on shipboard and on location by Lawler; and a pamphlet entitled "How the Romans Dressed," by Dr. Lillian Wilson, of Teachers' College.
The Photographs are largely of places and things encountered in travel, as well as of persons with whom Lawler traveled. There are many images here of ruins and artifacts of Greece, many of scenery and countryside. Probably of greatest interest are the photos of classical Greek pottery art.
Box no. Description
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Box 1
»Reprints
1929-1941
"Married Life in C.I.L. IX", 1929
"Two Portraits from Tertullian", 1929
"Zoologically Speaking", 1930
"Some Lesser Lights", 1934
"A Classicist in Far Cathay", 1936
"Lucida Veste", 1938
"The Dance of the Owl. . .", 1939
"The Dance of the Pinakides", 1940
"Ichthues Choreutai", 1941
"Ballgame Dances", 1941
"Blinding Radiance and the Greek Dance", 1941
1942-1965 and undated
"The Dance of the Holy Birds", 1942
"Four Dancers in the Birds of Aristophanes", 1942
"Dancing with the Elbows", 1942
"Orchêsis Iônikê", 1943
"'The Lily' in the Dance", 1944
"The Dance of the Ancient Mariners", 1944
"The 'Thracian Pig Dance'", 1945
"Orchêsis Phobera", 1946
"The Geranos Dance--a New Interpretation", 1946
"Pindar and some Animal Dances", 1946
"The Dance in Ancient Greece", 1947
"Orchesis Kallinikos", 1948
"The Dance in Metaphor", 1951
"The Dance in Classical Greek Drama", undated
"Are They Dancing?", The Classical Journal, 1965
"The Dance in Ancient Crete", undated
Journals, 1925-1968 (scattered)
Miscellaneous
Photographs (5 envelopes in one folder), 1926 and undated
Kedves H.!
Szivesen segitenenk, megkerdeztem a barataimat, de itt, Gorogorszagban, sajnos nem tudnak errol a sorozatrol...:) De barmilyen gorogorszagi temaban, ha tudunk, keszseggel rendelkezesedre allunk.
Tisztelettel:
Spyros.
Comic angels :
The Museum of Classical Antiquities is an integral part of the Department of Classical Studies. The collections are used for teaching Classical Archaeology and Ancient History as well as the classical languages. The Museum is also open to the general public.
Die Zeit des wirtschaftlichen Aufschwungs wurde von Roland Hampe (1957-1975) zu einem kräftigen Ausbau des Instituts genutzt. Die Originalsammlungen wurden durch bedeutende Neuerwerbungen besonders im Bereich der griechischen Frühzeit stark erweitert. In dem neuen Kollegiengebäude am Marstallhof wurden die Original- und die Gipsabguss-Sammlung in musealer Ausstellung mit dem Institut vereinigt. In Verbindung mit der Heidelberger Akademie der Wissenschaften wurde von Hampe eine Forschungsstelle "Antike Mythologie" zur Mitarbeit an dem internationalen "Lexicon Iconographicum Mythologiae Classicae" eingerichtet, die einen neuen interdisziplinären Schwerpunkt darstellte. 
www.library.csi.cuny.edu/roccos/greekcostume/
http://gamesmuseum.uwaterloo.ca/Archive/Hillbom/content.html 
Illustration of Würzburg L 507 
http://www.perseus.tufts.edu/cgi-bin/vaseindex?entry=Cone+Collection+(Moon+No.+78) http://www.google.com/search?q=cache:1Qhy6gD4gcUJ:www.perseus.tufts.edu/cgi-bin/vaseindex%3Fentry%3DCone%2BCollection%2B(Moon%2BNo.%2B78)+Webster++komasts&hl=en
http://www.lib.uchicago.edu/efts/Woodhouse/
Musical design in Aeschylean theater
