Greek Archaeology

Renumbered to 4021. to 4720.

Pretty much 100% certain to be 100% accurate,
with merely a few minor variations in the exact numbering of a few verses here and there, like all the large books.  It was even said at one point, which path was taken. 

(In fact there are always a ton of hidden paths that only a scribe would notice, yet reveal even more secret numerology doctrines.)

In the summer of 2006 geoarchaeological fieldwork was conducted in the valley north of the ancient Roman city of Nikopolis (Epirus, Greece). Different geomorphological and geophysical techniques were used to determine the appearance of the landscape around the city in Roman times. A number of geomorphological techniques were used: first of all, detailed analysis of different land forms apparent at the surface and hand augering of these land forms. The sediments taken from the cores were analysed for geological composition and anthropological indicators. A selected number of samples were taken for grain size and thermogravimetric analyses. Furthermore, geophysical prospection (magnetometric and resistivity surveys) was performed in some key areas. The geomorphological study has revealed that the valley is bound by two faults, one to the south and a large one to the north. From the northern fault two alluvial fans enter the valley. Furthermore, the valley is subject to a complex combination of alluvial, colluvial and marine sedimentation, erosion, tectonic uplift, sea level variations and anthropogenic activities. The geophysical data, finally, show a Roman landscape that had a symbolic layout. A Roman road connecting the monument of Augustus with the main city gate, an aqueduct parallel to it, a bath house along the road and a theater and stadium nearby showed that Nikopolis was a city of great importance.

In the last ten years, 3D technologies have proliferated in archaeology with multiple applications, both in the field and the lab. The pace of development is very rapid and constitutes a paradigm shift. 3D modeling is becoming an indispensable tool and is transforming the field. So far, analysis of artifacts has relied on direct physical access to objects, 2D representations (photographs and drawings), and written descriptions. However, the growing popularity of 3D technology has established that a 3D model of an artifact provides a superior record, compared to 2D products. The 3D model closely approximates the experience of the original (Payne in Necrocorinthia. A study of Corinthian Art in the Archaic period, Oxford, [1]). High-fidelity 3D digital artifacts can bridge the gap in quality of data available to researchers. Also, they can be disseminated widely, which facilitates and encourages scholarly collaboration. Here, we will explore the application of 3D modeling to a particular category of artifacts, terracotta figurines of the Archaic period (7th–6th centuries BCE) from the site of Plakomenos, in Greece.

The much shorter Archaiologikon Deltion for the single year of 2005 invariably offers far fewer reports on the work of the Archaeological Service than the four-year volume with which we were presented last year. This, in itself, is no bad thing, although the geographical and chronological balance generated by such a large dataset is notable by its absence. This unevenness is, as ever, partially offset by the publication of fieldwork, although certain areas maintain a far more visible archaeological presence than others. This is particularly true for the northeastern Peloponnese, which has, in recent years, been the recipient of an almost unparalleled focus of both research and rescue excavation; a fact reflected in the significant contribution made to this year's report by the edited proceedings of the conference The Corinthia and the Northeast Peloponnese: Topography and History from Prehistoric Times until the End of Antiquity (Kissas and Niemeier 2013). A total of 56 individual papers provide details on sites that range in date from the Neolithic to the Byzantine period. A great strength of this collection lies in the contribution of so many current and former staff of the Archaeological Service, and, of the numerous papers that engage directly or indirectly with the archaeology of the Archaic to Roman period, several are discussed in greater depth in the course of this report. A complementary Hesperia supplement detailing the current state of prehistoric and historic research on the Corinthian Isthmus is due to appear before the end of the year (Gebhard and Gregory forthcoming), as is a study of material from Henry Robinson's 1961–1962 excavation in the North Cemetery (Slane forthcoming). The study of religious practice during the Classical period benefits from the publication of the first volume of material from excavations conducted by the Canadian Institute in Greece between 1994 and 2001 in the Sanctuary of Athena at Stymphalos (Schaus 2014a), while the consolidation of synthetic regional studies and individual site reports within Villae Rusticae: Family and Market-oriented Farms in Greece under Roman Rule (Rizakis and Touratsoglou 2013) will no doubt ensure that it becomes a standard text for the study of the rural economy of Roman Greece (see Stewart, this volume).

CLASSICAL NEW YORK
DISCOVERING GREECE AND ROME IN GOTHAM
Edited by Elizabeth Macaulay-Lewis and Matthew McGowan

Contributor(s): Elizabeth Macaulay-Lewis, Matthew McGowan, Elizabeth Bartman, Maryl B. Gensheimer, Francis Morrone, Margaret Malamud, Allyson McDavid, Jon Ritter and Jared Simard

Published: 2018

ISBN: 9780823281022

Page Count: 304

Trim Size: 6.000in x 228.600in

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DESCRIPTION
During the rise of New York from the capital of an upstart nation to a global metropolis, the visual language of Greek and Roman antiquity played a formative role in the development of the city’s art and architecture. This compilation of essays offers a survey of diverse reinterpretations of classical forms in some of New York’s most iconic buildings, public monuments, and civic spaces.

Classical New York examines the influence of Greco-Roman thought and design from the Greek Revival of the late eighteenth and early nineteenth centuries through the late-nineteenth-century American Renaissance and Beaux Arts period and into the twentieth century’s Art Deco. At every juncture, New Yorkers looked to the classical past for knowledge and inspiration in seeking out new ways to cultivate a civic identity, to design their buildings and monuments, and to structure their public and private spaces.

Specialists from a range of disciplines—archaeology, architectural history, art history, classics, and history— focus on how classical art and architecture are repurposed to help shape many of New York City’s most evocative buildings and works of art. Federal Hall evoked the Parthenon as an architectural and democratic model; the Pantheon served as a model for the creation of Libraries at New York University and Columbia University; Pennsylvania Station derived its form from the Baths of Caracalla; and Atlas and Prometheus of Rockefeller Center recast ancient myths in a new light during the Great Depression.

Designed to add breadth and depth to the exchange of ideas about the place and meaning of ancient Greece and Rome in our experience of New York City today, this examination of post-Revolutionary art, politics, and philosophy enriches the conversation about how we shape space—be it civic, religious, academic, theatrical, or domestic—and how we make use of that space and the objects in it.

From Fordham University Press

Avec Alexandre Farnoux, Emanuele Greco et Alain Schnapp, j’ai rédigé la partie consacrée au monde grec dans le premier tome d’une histoire générale de l’art, de la préhistoire à nos jours, d’un grand éditeur. On m’a confié dans ce volume tous les chapitres sur la plastique (archaïque, classique et hellénistique), quelques chapitres sur l’architecture classique et la totalité des chapitres sur la période hellénistique. Les contraintes éditoriales et le public visé m’ont donné l’occasion d’exprimer dans une forme contenue et accessible l’approche et la vision de l’art grec que je me suis forgées tant à travers mes travaux de recherche qu’à travers mon enseignement. J’y ai insisté en particulier sur les contraintes techniques et le métier du sculpteur, sur le poids de la tradition et surtout de la convention dans les arts figurés, mais aussi sur les circonstances historiques, religieuses, politiques et sociales qui constituent le cadre, à la fois contraignant et explicatif, des créations de l’art grec. Au-delà de la familiarité trompeuse des formes, leur signification nous échappe en fait la plupart du temps et demande à être « expliquée ».

This is a thoroughly revised third edition. It offers a thorough survey of the history of the ancient Near East, Greece and Rome. Covering the social, political, economic and cultural processes that have influenced later western and Near Eastern civilisations, this volume considers subjects such as the administrative structures, economies and religions of the ancient Near East, Athenian democracy, the development of classical Greek literature, the interaction of cultures in the Hellenistic world, the political and administrative system of the Roman Republic and empire, and the coming of Christianity, all within the broad outline of political history.
This third edition is thoroughly updated and some chapters are completely rewritten to cover recent historical research. Changes include:
• more attention to economic structures and developments, and to the history of the later Roman Empire (third to sixth centuries AD);
• incorporation of the results of recent archaeological and historical research, and recently published studies of ancient literature;
• ‘boxes’ that support the main text, on topics including economic and political systems, religion and terminology;
• redrawn maps and new, higher-quality images;
• the inclusion of useful websites in the bibliography.

The article takes a look at some historiographical perspectives that have conditioned the studies on the Greek polis during the last decades, paying particular attention to the concept of consumption city impelled by Moses Finley, following Werner Sombart and Max Weber, and the criticisms on this notion elaborated by Mogens Hansen within the Copenhagen Polis Center. A review of Sombart’s formulation on the consumption city, which is Weber’s point of departure taken up by Finley in proposing that the ancient city was a city of consumers, allows Hansen to conjecture that the polis does not fit into this model. Indeed, it is based on a distribution of the population between countryside and town that is not in line with what recent archaeological surveys have shown in relation to the polis. On the basis of this, the notion of Normalpolis, promoted by John Bintliff but originally enunciated by Eberhard Ruschenbusch, and certain ideas of Aristotle, on the inclusion of peasant population in the politeia, are reconsidered to understand the relationships between population, territory, and political models that were probably characteristic of the structure of most poleis.

CATALOGUE OF THE EXHIBITION "THE LIFE AFTER DEATH" IN THE FRAME OF THE CULTURAL CAPITAL OF EUROPE PAFOS2017 AND AARHUS2017. A CULTURAL APPROACH TO THE PRESERVATION OF THE DEAD'S MEMORY THROUGH ART AND BURIAL CUSTOMS IN CYPRUS AND DENMARK FROM ANTIQUITY TILL NOWADAYS/ ΚΑΤΑΛΟΓΟΣ ΤΗΣ ΕΚΘΕΣΗΣ "Η ΖΩΗ ΜΕΤΑ ΘΑΝΑΤΟΝ" ΣΤΑ ΠΛΑΙΣΙΑ ΤΩΝ ΠΟΛΙΤΙΣΤΙΚΩΝ ΠΡΩΤΕΥΟΥΣΩΝ ΤΗΣ ΕΥΡΩΠΗΣ ΠΑΦΟΣ2017 ΚΑΙ ΩΡΧΟΥΣ2017. ΜΙΑ ΠΟΛΙΤΙΣΜΙΚΗ ΠΡΟΣΕΓΓΙΣΗ ΣΤΗ ΔΙΑΤΗΡΗΣΗ ΤΗΣ ΑΝΑΜΝΗΣΗΣ ΤΩΝ ΤΕΘΝΕΩΤΩΝ ΜΕΣΑ ΑΠΟ ΤΗΝ ΤΕΧΝΗ ΚΑΙ ΤΙΣ ΤΑΦΙΚΕΣ ΠΑΡΑΔΟΣΕΙΣ ΣΤΗΝ ΚΥΠΡΟ ΚΑΙ ΤΗ ΔΑΝΙΑ ΑΠΟ ΤΗΝ ΑΡΧΑΙΟΤΗΤΑ ΕΩΣ ΤΙΣ ΗΜΕΡΕΣ ΜΑΣ

The Collaborative Research Centre 1136 'Bildung und Religion' is pleased to
invite you to attend the conference 'Religion and Education in the Ancient
Greek World', organised by Tanja Scheer and Irene Salvo, to be held on
Wednesday the 25th and Thursday the 26th of October 2017 in the Historical Building of the Goettingen State and University Library (Paulinerkirche).

Further information here:
http://www.uni-goettingen.de/de/571664.html.

Participation is free, but if you would like to attend please send an
e-mail by Friday the 20th of October to Irene Salvo, isalvo@uni-goettingen.de.

Sehr geehrte Damen und Herren,

Der SFB 1136 „Bildung und Religion“ lädt herzlich Sie zur internationalen Tagung „Religion and Education in the Ancient Greek World“ ein, die vom 25. bis 26. Oktober 2017 in Göttingen stattfindet.

Weitere Informationen finden Sie hier: http://www.uni-goettingen.de/de/571664.html.

Wenn Sie an der Tagung teilnehmen möchten, bitten wir Sie um eine kurze Rückmeldung bis Freitag, den 20.10.2017 (isalvo@uni-goettingen.de), um entsprechend planen zu können.

RÉSUMÉ
Des charpentes antiques, il ne subsiste aucun vestige direct, et, bien souvent, l’état de conservation des blocs constitutifs des parties hautes des édifices est lacunaire.  Dans ces conditions, comment est-il possible aujourd’hui d’analyser les charpentes des édifices monumentaux grecs ? L’objectif de cet article est de proposer des pistes de réflexion sur l’étude et la restitution des charpentes grecques, en se concentrant plus spécifiquement sur les apports de la prise en compte de l’environnement technique d’une part, et sur leur dimension structurelle d’autre part. Auparavant, un rapide état des lieux historiographique permettra de situer les origines du cadre interprétatif des charpentes antiques, toujours en vigueur, et d’en indiquer les limites.

SUMMARY
There is no direct evidence of woodwork of antique roofs, and, in many cases, the state of conservation of the blocks in the upper parts of the buildings is incomplete.  In these conditions, how is it possible today to analyse the woodwoork of Greek monumental roofs ? The objective of this article is to suggest avenues to be explored on the study and restitution of Greek wooden roof structures, focusing more specifically on the benefits of taking into account the technical environment on the one hand, and on their structural dimension on the other hand. Beforehand, a brief inventory of the historiographical situation will make it possible to situate the origins of the interpretative framework of ancient wooden roof structures, which is still in force, and to indicate their limits.

In archaic and classical iconography, eminent figures, such as the Olympian gods, are often represented seated on thrones. This symbol of power, however, is also regularly used by ancient authors and artists as an allegory of punishment associated to a hybris committed towards the gods –Theseus and Pirithoos on the thrones of oblivion, Hera on the golden throne. This theme alludes to the destiny of those who do not respect the laws and rules established by official authorities (divine or human).
The present article aims at studying the transformation of a typical symbol of power to an image of suffering and torture as well as determining the pictorial elements that enabled the distinction between the two themes in space (Greece and South Italy) and time (from the sixth to the fourth centuries B.C.).

RESUME
Le motif de la figure assise apparaît souvent dans l’iconographie de personnages éminents, tels les Olympiens, faisant référence à leur pouvoir. Néanmoins, ce même motif est parfois utilisé par les auteurs et les artistes antiques pour évoquer des scènes de supplice liées au châtiment d’une démesure envers les dieux –Thésée et Pirithoos sur les sièges de l’oubli, Héra sur le trône d’or– faisant allusion de façon allégorique au sort réservé aux personnes qui ne respectent pas les lois et les règles établies par la hiérarchie officielle (divine ou humaine).
Le présent article étudie la transformation d’un thème typique de pouvoir en scène de châtiment et tâche de déterminer les conditions qui imposaient la diffusion de l’un ou de l’autre motif dans l’espace (Grèce et Italie du Sud) et dans le temps (du VIe au IVe siècle av. J.-C.).

In 391 B.C. political and territorial tensions between Greeks, Phoenicians and the Achaemenid empire exploded into combat off the south coast of Cyprus near the Cypro-Phoenician kingdom of Kition. To commemorate their naval victory King Milkyaton and the people of Kition erected a victory monument which I call Milkyaton’s Trophy. Scholars have suggested five possible forms including a bronze tripod for this trophy. This talk not only assesses the feasibility of these five forms, but also examines the textual and physical evidence as well as the relevant iconography and mythology which allows for a new sixth form, a bronze statue depicting an armed marine god, Melqart or Ba’al-‘Oz, riding a hippocampus. Much like the Macdonough memorial, an American naval victory monument comprised of an obelisk crowned by an eagle, Milkyaton’s Trophy celebrates both success in battle and reflects heterogeneous cultural influences.

Often, contemporary archaeological research is adapted to fit antiquated notions of time and place. This is a development demonstrated atop the Mycenaean acropolis and throughout the surrounding landscape. This paper explores the temporal boundaries that have traditionally forced the direction or scope of archaeological study, using Mycenae as a case study.

When historically dealing with the historical narrative of a place it is often most efficient and useful to assign strict chronological limitations to a site or a region. At Mycenae, this system is represented by the orderly chronological classification of various ages (Early, Middle, and Late Helladic, etc.). However, I argue that, archaeologically, these traditional boundaries hinder the modern researcher in creating an image of the site that is completely faithful to the data on the ground. While certain pasts may be temporally far removed from one another, they can often be in close archaeological proximity. Inhabitants of Mycenae regularly interacted with the physical remains of their past. Due to the polychronic nature of material culture, these chronological phases rarely end archaeologically in the clean manner which history provides them.

Consequently, the use of these temporal boundaries inhibits modern excavators in their ability to tease out the subtle nuances for which archaeology is uniquely proficient. I argue that archaeologists should unshackle their research from these historic boundaries which persist from archaic archaeological research. Instead, archaeological focus must turn to the examination of a site or feature as a whole, devoid of temporal limitations. In doing so, features of the past which escape historical perception may exhibit themselves, and otherwise unattainable connections can be explored.

One of the cities of Macedonia listed by Claudius Ptolemaeus (Geogr. III, 12, 23) and Pliny the Younger (NH. V, 10, 17) in the imperial age is Lete. Its location is about 12 kilometers NW of Thessaloniki. The city and its cemeteries sprawled over the hills of the Derveni pass and the western part of the fertile plain of Langadas. This strategic position on two main roads - leading from the Aegean into the central Balkans and linking the Thermaikos Gulf with eastern Macedonia - justifies the long, continuous habitation of the site, from the very early Neolithic period until the Roman era.
The two bronze oinochoai derive from the cemetery of Lete, a city of ancient Mygdonia in Macedonia. More specifically, the oinochoe no MTh 17244 (fig. 1-2) accompanied a male burial of the early 3rd century, while the oinochoe no MTh 22710 (fig. 3-4) accompanied a female burial dated to 270-260 B.C. The morphological characteristics of the two vessels allow for their incorporation in the Hellenistic version of type 9 of the bronze oinochoai, dated to late 4th-early 3rd c.B.C. The handle of oinochoe MTh 17244 ends to an ivy leaf, while the attachment of the handle of oinochoe MTh 22710 is decorated with two confronted heads of goats which frame acanthus leaves. This theme comprises a rare decorative motif on the handles of metal vessels, with the earlier example being the bronze trefoil oinochoe from Galaxidi. In early Hellenistic era the same motif is encountered on the attachments of the handles of the two-handled bronze oinochoe B 34 from the Derveni cemetery (fig. 5, 10 a), a bronze sheet with similar function from Region of Didymoteichon (fig. 6) and a bronze oinochoe from Nafpaktos (fig. 7a, b), related to a Macedonian workshop. Other examples, such as the bronze olpe in the Museum of Fine Arts in Boston and the bronze hydria from Palazzolo demonstrate that the depiction is used until the early Roman times. The oinochoe MTh 22710 from Lete belongs to a burial assemblage where it is combined with clay drinking vessels, thus it comprised a symposium vessel. The emblematic depiction on the attachment of its handle refers to Dionysus as a god of wine and symposium, considering that the goat is included among the animals that accompany the god. Αlso, in the same context belongs the ivy leaf on the oinochoe MTh 17244.
The two oinochoai were possibly manufactured in the period between 330-300 B.C., while the MTh 22710 is a little later. They were undoubtedly already used vessels which were deposited as funeral offerings not much later than their production. The estimation that certain metal vessels from the cemetery of Derveni are creations of a metal workshop installed in Lete is further confirmed by the scarcity of the shape of the two bronze oinochoai. The stylistic similarities between the theme of the confronted heads of goats on the oinochoe and the crowning of grave stelae, which depict the same theme and are products of Attic workshops (fig. 9), allow for the verification of the influence of Attic art in their performance. Nevertheless, the influence of Attic workshops has been noted in other facets of local production activity in Lete.

Kotsonas, A. 2015. Showcasing new Trojan Wars: Archaeological exhibitions and
the politics of appropriation of ancient Troy, Z. Theodoropoulou Polychroniadis and
D. Evely (eds), Aegis: Essays in Mediterranean Archaeology presented to Matti Egon by the scholars of the Greek Archaeological Committee UK. Oxford, Archaeopress, 235-242.

This paper aims to interpret the role of indigenous sanctuaries in the Hellenization of inland Karia. Although coastal regions of Karia had been subject to Greek colonization from the Bronze Age on, mountainous inland Karia, with its own culture and language, remained fairly remote until the fourth century, when the Greek urban formula rapidly began to be applied in a conscious effort to politically (re)organize society according to the wider interests of the ruling powers. Towns were founded in the midst of established village federations and their sacred centers. A case study of Stratonikeia and the outlying sanctuaries at Lagina and Panamara examines how the relationship between town and indigenous cult worked. This relationship is further clarified by applying two current theoretical models. Finally, the author maintains that the inclusion of pre-existing cults in the politicized landscapes of the Hellenistic period was a critical factor of success for the urban phenomenon in Karia.

Spectators at the sides of narrative vase paintings have long been at the mar- gins of scholarship, but a study of their appearance shows that they provide a model for the ancient viewing experience. They also reflect social and gender roles in archaic Athens. This study explores the phenomenon of spectators through a database built from a census of the Corpus Vasorum Antiquorum, which reveals that the figures flourished in Athenian vase paint- ing during the last two-thirds of the sixth century b.c.e. Using models devel- oped from psychoanalysis and the theory of the gaze, ritual studies, and gender studies, Stansbury-O’Donnell shows how these “spectators” emerge as models for social and gender identification in the archaic city, encoding in their gestures and behavior archaic attitudes about gender and status.