Dissertations / Theses: 'Ancient Art'

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Ako-Adounvo, Gifty. "Studies in the iconography of Blacks in Roman art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50980.pdf.

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Garrett, Elizabeth Ann. "The Ancient Art of Smile-Making." TopSCHOLAR®, 2014. http://digitalcommons.wku.edu/theses/1366.

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If I am anything, I am a Kentuckian, which means I appreciate a good storyteller. In my writing, I hope to bring back some dignity to the “lost cause” of the good values from a broken culture. While I am not quite “southern” enough to qualify as a writer of Southern Gothic fiction, I can relate to this brand of identity crisis in which someone wants to maintain an archaic mindset in a culture charging towards “progress.” As technology and corporate success take precedence over a genteel and pastoral soul, our collective competitiveness has crippled a quaint future of back porch comforts. Being well-read or holding open doors won’t pay for student loans, and there is no such thing as stars in our crowns anymore. For many regions of Kentucky, there is this conflict within the graying of small town communities. My region is one of these. As time marches on, the agrarian lifestyle itself becomes industrialized, and these old family farms, upon which small towns are built, are not self-sustaining. In my stories, I capture the perspectives of a rural community’s personalities. My Regionalism may be dated, but then so are the small town values. With these short stories, I hope to create a collection of characters whose backgrounds may be singular but whose messages are universal. My stories are about the universal fear of loneliness. Perry and White, the cameo characters, pop up throughout because they epitomize this with their irrational companionship. “The Ancient Art of Smile-Making,” “A Well Meaning Marionette,” “The Peacock Cloister,” and “In the Garden, Swallowing Pearls” are essentially about this innate need for company. “Murdered in a Good Dress” and “Myrtle Slog” illustrate the homesickness experienced by those who divorce themselves from closeness of the rural community. Sometimes we call “friendship” kitschy and cliché. And why is that? I made Perry and White’s bond a bit absurd because it is almost ridiculous that there could be a person in the wild world who would sacrifice themselves.

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D'Alconzo, Nicolo. "Works of art in ancient Greek novels." Thesis, Swansea University, 2015. https://cronfa.swan.ac.uk/Record/cronfa42452.

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This thesis is a study on the use of works of art in Greek novels, based on the idea that the novelists understood it as one of the main features of their job. I recognise a coherent pattern whereby works of art are closely connected to protagonists and plot, which started already with first-century novels and continued throughout. Chapter One explores rhetorical theory of ekphrasis in order to provide technical information on it as well as to reassess the notion that descriptions of paintings in novels were entirely dependent on rhetoric. Chapter Two starts the analysis of the feature of works of art in the genre by examining Chariton and Xenophon of Ephesus, and by making some considerations on the Ninus romance as well. It shows that works of had a relevant role before the introduction of ekphrasis of paintings, and also that novelists showed a tendency to employ, and innovate on, the ideas of their predecessors. Through close textual analysis of the relevant passages. Chapter Three details how Achilles Tatius composed the ekphraseis of paintings from literary as well as figurative models, and shows how he explored their potential by experimenting on the connection between description and narration. In an appendix, it also examines a possible connection between Achilles Tatius and Lucian. I see Achilles Tatius' descriptions as a prelude to the reflection on the nature of ekphrasis of paintings that can be found in Longus, mostly in the prologue of his novel. Chapter Four is dedicated to this, and connects it to the development of ekphrasis of paintings as an autonomous genre in the third century. Finally, Chapter Five considers Heliodorus as the recipient of this tradition, by looking closely at how he used the story of the birth of his heroine, who is born from a painting, to talk about the birth of his novel. The novelists became progressively aware that art was the expedient through which they could talk about the nature of their work.

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Petersen, Lauren Hackworth. "Questioning Roman "freedman art" : ancient and modern constructions /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Pontelli, Elena. "Landscapes before the landscape in ancient Etruscan art." Thesis, IMT Alti Studi Lucca, 2022. http://e-theses.imtlucca.it/347/1/Pontelli_phdthesis.pdf.

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This thesis approaches the broad field of landscape study from a specialized standpoint, namely by investigating the different ways in which landscape is represented in Etruscan art. In particular, this analysis aims to identify the significance of what we might nowadays refer to as “landscape elements” in the production-fruition systems of Etruscan visual culture. The iconographic analysis presented here shows that landscape features are working material which, employed in relation to other image elements, express specific meanings in the construction of the image. This thesis begins with an historiographical overview of the ways landscape representation has been investigated over time, including by visualizing the relationships and influences between the different disciplines that have approached landscape as a research topic. The core section then considers all kinds of representations of landscape elements (landscape elements that appear isolated within images as well as more structured and coherent ensembles of landscape features) in Etruscan art, from its earliest period to the threshold of Hellenism. The analysis and presentation of images is based on a ‘situational’ categorization (theme/context-based categories) designed to enable transversal readings. Dealing with the multiple ‘landscapes’ that existed before the landscape (aesthetically appreciable as a pictorial theme), entails moving along two different but interconnected paths. On the one hand, we can see landscape features performing different functions in different visual occurrences. On the other hand, from the perspective of an unfolding elaboration of figurative structures, these features can be analyzed as individual signifying structures that were only organized into broader uniform configurations over time.

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Barry, Marie Porterfield. "Lesson 05: Ideal Beauty in the Ancient World." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/6.

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Lymer, Kenneth J. "Animals, art and society : rock art and material culture in ancient Central Asia." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.

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Strandberg, Åsa. "The Gazelle in Ancient Egyptian Art : Image and Meaning." Doctoral thesis, Uppsala universitet, Egyptologi, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-107642.

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This thesis establishes the basic images of the gazelle in ancient Egyptian art and their meaning. A chronological overview of the categories of material featuring gazelle images is presented as a background to an interpretation. An introduction and review of the characteristics of the gazelle in the wild are presented in Chapters 1-2. The images of gazelle in the Predynastic material are reviewed in Chapter 3, identifying the desert hunt as the main setting for gazelle imagery. Chapter 4 reviews the images of the gazelle in the desert hunt scenes from tombs and temples. The majority of the motifs characteristic for the gazelle are found in this context. Chapter 5 gives a typological analysis of the images of the gazelle from offering processions scenes. In this material the image of the nursing gazelle is given particular importance. Similar images are also found on objects, where symbolic connotations can be discerned (Chapter 6). References to healing and regeneration are found, particularly in relationship to the context of the objects. The gazelle is found in a divine context in a limited material (Chapter 7). A discussion of these sources sees a focus on the gazelle as representative for the desert mountains as the setting for death and rebirth. This relates to the gazelle as a feminine image with a connection to the models of female divinity (Chapter 8).

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

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Strandberg, Åsa. "The gazelle in ancient Egyptian art : image and meaning /." Uppsala : University of Uppsala. Dept. of Archaeology and Ancient History, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018635196&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Lopez, Noelle Regina. "The art of Platonic love." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5e9b2d70-49d9-4e75-b445-fcb0bfecdcef.

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This is a study of love (erōs) in Plato’s Symposium. It’s a study undertaken over three chapters, each of which serves as a stepping stone for the following and addresses one of three primary aims. First: to provide an interpretation of Plato’s favored theory of erōs in the Symposium, or as it’s referred to here, a theory of Platonic love. This theory is understood to be ultimately concerned with a practice of living which, if developed correctly, may come to constitute the life most worth living for a human being. On this interpretation, Platonic love is the desire for Beauty, ultimately for the sake of eudaimonic immortality, manifested through productive activity. Second: to offer a reading of the Symposium which attends to the work’s literary elements, especially characterization and narrative structure, as partially constitutive of Plato’s philosophical thought on erōs. Here it’s suggested that Platonic love is concerned with seeking and producing truly virtuous action and true poetry. This reading positions us to see that a correctly progressing and well-practiced Platonic love is illustrated in the character of the philosopher Socrates, who is known and followed for his bizarre displays of virtue and whom Alcibiades crowns over either Aristophanes or Agathon as the wisest and most beautiful poet at the Symposium. Third: to account for how to love a person Platonically. Contra Gregory Vlastos’ influential critical interpretation, it’s here argued that the Platonic lover is able to really love a person: to really love a person Platonically is to seek jointly for Beauty; it is to work together as co-practitioners in the art of love. The art of Platonic love is set up in this way to be explored as a practice potentially constitutive of the life most worth living for a human being.

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Zourgou, Anna. "The judgement of Paris in ancient Greek art and literature." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/51092/.

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The Judgement of Paris has been one of the most influential and popular myths throughout antiquity. Significant work has been done by previous scholars on the collection and analysis of artistic representations of the Judgement. This thesis is also looking into the Judgement of Paris in ancient Greek art, but it mainly focuses on the collection and analysis of the references to the myth in Greek literature from the eighth century B.C. to the second century A.D. Special attention is paid to recurring themes and ideological implications that the Judgement story raises, as well as to the interaction between those themes and specific genres. The detailed account and analysis of the references available sheds light not only on the perception of the myth itself, but also on conceptions of morality, beauty, gods, free choice, responsibility and even humour in antiquity. Through this thesis it is possible to see the transformations of the Judgement of Paris throughout centuries of literature, from its very first appearance in Homer’s Iliad to the enjoyable world of Lucian, realising the vast possibilities of this mythological tradition.

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Barry, Marie Porterfield. "Lesson 04: Death and Mourning in the Prehistoric and Ancient World." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/5.

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This lesson covers death and mourning in the prehistoric and ancient world by discussing related art and architecture including, but not limited to, Varna Necropolis, The Flood Tablet / The Gilgamesh Tablet, Ziggurat in Uruk, Royal Tombs of Ur, Great Pyramids of Giza, Tomb of King Tutankhamun, and Book of the Dead of Hunefer.

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Ballestrazzi, Chiara. "In artum coacta rerum naturae maiestatis : le gemme in Grecia e a Roma fra materia e ars." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/85825.

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Meloni, Gabriele. "Plato on establishing poetry as art." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9752.

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Plato’s attitude on Art has always been hardly debated among scholars, and in recent times the interest on ancient Aesthetics in general and Plato’s attitude in particular has been even increased in the philosophical debate. The problem with Plato’s position is twofold. On the one hand he expresses hard criticism against poetry and he even banishes the poets from the ideal state he envisages in the Republic. That has been usually regarded as an illiberal, totalitarian position. On the other hand, the criticisms he makes of poetry seem to present inconsistencies among the Platonic corpus and they could prima facie appear to the modern reader odd, paternalistic or moralistic. Throughout my work I suggest to adopt a new approach, based both on historical and theoretical grounds, according to which it will be possible to resolve the problems that Plato’s objections to poetry give rise to. The historical and cultural context will be the focus of the first chapter. It consists of the following points. On the one hand I will first focus on different features that characterize Greek poetry, and on the other I will emphasize the pre-literacy of Plato’s contemporaries. I will also highlight how the ethical and political role, along with the educational function, made poetry the privileged source of information and education, and the ultimate reference for everyone in the Athens of the fifth B.C. In the second section of the first chapter I will analyze Plato’s teleologism, which I regard to be a fundamental entity in his stance on art. Such a notion, although not as much emphasized by scholars, plays a pivotal role in Plato’s arguments on poetry, I contend. This is especially evident in the Republic, where Plato’s criticism regards the flaws of poetry in teaching (Resp. II and III) first, and secondly as the main source of knowledge (X). In the third and last section of chapter one, I will face the complex issue of the alleged existence of the concept of beauty in antiquity. In this occasion I argue in favour of the existence of such an entity, both among average Greeks and for Plato, even though in different ways and degrees of awareness. After having provided the historical and theoretical frame of my approach, I will then move to textual examination of the Platonis Opera. In the second and third chapter I will analyse the so-called ‘early dialogues’, in order to single out the recurrent features of Plato’s stance on poetry. In fact, one of the main goals of my study is to retrace an overall, consistent view on art in general and poetry in particular among the Platonic corpus. While the second chapter is mainly focused on the Apology and the Protagoras, a special emphasis deserves the Ion, which is the object of the third chapter. I argue indeed that for the first time in this early dialogue we find a clear theoretical expression of a key-concept of Plato’s stance on art. In fact, Plato bases his criticism toward the eponymous rhapsode pointing out that the rhapsode on the one hand lacks the knowledge of the things he (demands to be able to) talk(s) about. On the other hand, the rhapsode lacks the knowledge of what poetry, as well as his trade, is. Such a ‘twofold ignorance’, as we will see, it is a recurring pattern in Socrates’ pupil. While the fourth chapter is mainly devoted to the analysis and comment of the Symposium, the fifth, sixth and seventh chapter present the detailed examination of the Book II, III and X of the Republic. They are respectively devoted to the analysis and criticism of the ‘middle dialogues’, the Republic and the ‘late dialogues’. Because of its capital importance for the purpose of my argument, I will analyze Plato’s criticism in the Republic in details and I will face different approaches to the subject. Afterwards I will confront them with my own theory in order to show that adopting my approach the apparent discrepancies regarding Plato’s aesthetics within the Republic itself as well as in others Platonic dialogues disappear. (And, on the contrary, this does not happen if the reader accepts the mainstream interpretation on the subject at issue). In essence: I propose to take Plato’s criticism of poetry not as an aesthetic attitude, but rather as a justified concern about the pursuit of truth through poetry, as if it were the main source of teaching, moral value, knowledge and information in the ancient Greek society. That is the core of my argument. The eighth chapter analyses the ‘late dialogues’, in particular The Laws, given the abundant of relevant passages on the matter. Finally, the ninth and last chapter faces Popper’s notorious judgement of Plato as totalitarian scholar. In this section of the study I will contend that Popper’s notorious reading of Plato’s political system is fallacious. Further, I will reveal that Plato and Popper’s stance on mass media essentially correspond. It is my understanding that such a fundamental passage will give the ultimate proof of the rightness of my revolutionary reading of the vexata quaestio of the ancient quarrel between philosophy and poetry in Plato. Finally, the outcome of my investigations will show that Plato does not banish poetry because he is attacking it as a dangerous, free, “fine” Art. On the contrary, I propose to take his attack as the only way to release poetry from its educational and political context and to baptize it into the realm of Fine Art.

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Haynes, Dawn. "The symbolism and significance of the butterfly in ancient Egypt." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79920.

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Thesis (MPhil)--Stellenbosch University, 2103.
ENGLISH ABSTRACT: Ancient Egyptian art and artefacts reveal a great deal about the culture and beliefs of this civilization. It was a civilization steeped in myth, symbolism and imagery. Tomb art has been extensively analysed and studied in an effort to reveal the essential way of life of the Ancient Egyptians, their religious beliefs and their philosophy of life. It is agreed that symbolism was an inherent part of their lives and beliefs. They looked to nature and observed the behaviour of animals, plants, the environment and also the weather to attempt to rationalize the world they lived in. Their close observation of behaviour patterns in nature resulted in a complex hierarchy of gods and goddesses who were accountable for successful living. Among the animal kingdom, certain animals gained such distinction that they were linked to certain deities. The scarab beetle is one such creature. Insects featured variously in their art, their myths and their belief in magic. While the scarab beetle is possibly the most documented of the insects, other insects such as the bee, the fly, the locust and the praying mantis have all been investigated. The butterfly features frequently in Ancient Egyptian art and yet has not been the subject of in-depth study. This investigation attempts to examine the symbolism and significance of the butterfly in Ancient Egypt. Richard Wilkinson (1994) has provided a framework for analysing symbolism in Egyptian art. He suggests nine aspects which can be examined in order to reveal symbolism. In this study, a selection of art from various dynasties is systematically examined according to these nine aspects. Each art work portrays the butterfly. Through this careful examination it is hoped that a clearer indication of the role of the butterfly in Ancient Egypt will be obtained. Having discussed all nine aspects for each of the sources, a discussion and various conclusions follow which look at the trends which appear. Certain patterns emerge which indicate that the butterfly does indeed play a significant role as a symbol in Ancient Egypt.
AFRIKAANSE OPSOMMING: Antieke Egiptiese kuns en artefakte openbaar baie oor die kultuur en oortuigings van hierdie beskawing. Dit was 'n beskawing ryk aan mites, simboliek en beelde. Grafkuns is deeglik ontleed en bestudeer in 'n poging om die wesenlike lewenswyse van die antieke Egiptenare, hul godsdienstige oortuigings en lewensfilosofie te openbaar. Daar word saamgestem dat simboliek 'n inherente deel van hul lewens en oortuigings uitgemaak het. Hulle het op die natuur gesteun en die gedrag van diere, plante, die omgewing en ook die weer waargeneem om te probeer om hul lewenswêreld te verklaar. Hul noukeurige waarneming van natuurverskynsels het tot 'n komplekse hiërargie van gode en godinne gelei wat vir 'n suksesvolle lewe verantwoordelik was. Sekere diere in die diereryk was so besonders dat hulle met sekere gode en godinne verbind was. Die skarabee kewer is een so 'n skepsel. Insekte verskyn onder andere in hul kuns, hul mites en hul geloof in magie. Terwyl die skarabee moontlik die mees gedokumenteerde insek was, is ander insekte soos bye, vlieë, sprinkane, en die bidsprinkaan ook almal ondersoek. Die skoenlapper verskyn gereeld in die antieke Egiptiese kuns, maar was nog nie die onderwerp van 'n grondige studie nie. Hierdie studie poog om die simboliek en belangrikheid van die skoenlapper in antieke Egipte te ontleed. Richard Wilkinson (1994) verskaf 'n raamwerk vir die ontleding van simboliek in Egiptiese kuns. Hy het nege aspekte voorgestel wat bestudeer kan word om die simboliek te openbaar. In hierdie studie, word 'n seleksie kuns van verskillende dinastieë, sistematies aan die hand van dié nege aspekte ontleed. Elke kunswerk beeld die skoenlapper uit. Deur hierdie noukeurige ondersoek, word daar gehoop dat die rol van die skoenlapper in antieke Egipte duideliker voorskyn. Na die bespreking van al nege aspekte vir elk van die bronne, volg daar 'n bespreking met verskillende gevolgtrekkings wat kyk na die tendense wat voorkom. Sekere patrone kom te voorsyn wat daarop dui dat die skoenlapper wel 'n belangrike rol as 'n simbool in antieke Egipte gespeel het.

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Auanger, Lisa. "A catalog of images of women in the official arts of ancient Rome /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841130.

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Williams, Michael David. "The Classicism of Edgar Degas' Woman Bathing and its Affinities with Ancient Art." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392024217.

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Posthumus, Liane. "Hybrid monsters in the Classical World : the nature and function of hybrid monsters in Greek mythology, literature and art." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6865.

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Thesis (MPhil (Ancient Studies))--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of manhorse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity. In aid of this definition, attention is also given to themes that recur when considering monster beings. This provides a basis from which the hybrid monsters of ancient Greece, the centaur and Minotaur in particular, can be considered. The next section of the thesis looks into the attitudes to animals prevalent in ancient Greece. The cultural value of certain animal types and even certain body parts have to be taken account, and the degree to which these can be traced to the nature and actions of the hybrid monster has to be considered. The main argument is divided in two sections. The first deals with the centaur as challenger to Greek cultural taxonomy. The centaur serves as an eminent example of how human-animal hybrid monsters combine the familiar and the foreign, the Self and the Other into a single complex being. The nature of this monster is examined with special reference to the ways in which the centaur, as proponent of chaos and wilderness, stands in juxtaposition to the ideals of Greek civilisation. The second section consists of an enquiry into the purpose of the hybrid monster and considers the Minotaur’s role as a facilitator of transformation. The focus is directed towards the ritual function of monsters and the ways in which monsters aid change and renewal both in individuals and in communities. By considering the Theseus-myth and the role of the Minotaur in the coming-of-age of the Attic hero as well as the city of Athens itself, the ritual theory is given application in ancient Greece. The conclusion of this thesis is that hybrid monsters, as manifestations of the internal dichotomy of man and the tenuous relationship between order and chaos, played a critical role in the personal and communal definition of man in ancient Greece.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie tesis is om die sin van monsters te ondersoek deur te kyk na die verhouding wat bestaan tussen hierdie wesens en die gemeenskappe waarbinne hulle hul ontstaan het. Die tesis fokus spesifiek op die mens-dier hibriede monster in die mitologie, literatuur en kuns van antieke Griekeland. Dit probeer om tot ‘n slotsom te kom oor die bestaansrede van monsters deur te kyk na die aard van die man-perd monster. Hierdie wese se tweeledige samestelling – met betrekking tot beide sy interne en eksterne komposisie – het ‘n wesenlike bedreiging ingehou vir die kulturele taksonomie van die antieke Grieke. Die tesis kyk ook na die rol, van monsters in die konteks van rituele gebeure. Die mite van Theseus as ‘n mite met rituele verbintenisse, en die Minotaurus as hibriede monster, word dan oorweeg om te bepaal wat die ooreenstemming is met die verwagtinge wat daargestel is vir rituele monsters. Ten einde ‘n redelike definisie van monsteragtigheid daar te stel, begin die ondersoek deur oorweging te skenk aan die geskiedenis en die gebruike van die woord “monster”. Ter ondersteuning van hierdie definisie word daar ook aandag geskenk aan sekere temas wat herhaaldelik opduik wanneer monsters ter sprake kom. Dit skep ‘n basis vir die ondersoek na die hibriede monsters van antieke Griekeland, en meer spesifiek na die kentaurus en die Minotaurus. Die tesis oorweeg ook die houding van die antieke Griekse beskawing teenoor diere. Die kulturele waarde van sekere soorte diere, en selfs seker ledemate van diere, moet in ag geneem word wanneer die hibriede monsterfiguur behandel word. Aandag moet geskenk word aan die maniere waarop die assosiasies wat die Grieke met diere gehad het, oorgedra word na die aard en handelinge van die monsterfiguur. Die hoofargument van die tesis word in twee dele uiteengesit. Die eerste gedeelte behandel die kentaurus as uitdager van die kulturele taksonomie van die antieke Grieke. Die kentaurus dien as ‘n uitstekende voorbeeld van die manier waarop die mens-dier monster dit wat bekend is en dit wat vreemd is, die Self en die Ander, kombineer in een komplekse wese. Die aard van hierdie wese word ondersoek met spesifieke verwysing na die maniere waarop die kentaurus, as voorstander van die ongetemde en van chaos, in teenstelling staan teenoor die ideale van die Griekse beskawing. Die tweede gedeelte vors die doel van die hibriede monster na en oorweeg die Minotaurus se rol as bevorderaar van transformasie. Hier word gefokus op die rol van die monster in ’n rituele konteks en die maniere waarop monsters verandering en vernuwing teweegbring in enkelinge sowel as in gemeenskappe. Hierdie teorie word van toepassing gemaak op antieke Griekeland deur die mite van Theseus en die rol van die Minotaurus te oorweeg binne die konteks van die proses van inburgering wat beide die held en sy stad, Athene, ondergaan. Die gevolgtrekking van hierdie tesis is dat hibriede monsters, as uitbeeldings van die interne tweeledigheid van die mens sowel as van die tenger verband tussen orde en chaos in die wêreld, ‘n noodsaaklike rol gespeel het in die persoonlike en sosiale definisie van die individu in antieke Griekeland.

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Fletcher, Amy Joann. "Ancient Egyptian hair : a study in style, form and function." Thesis, Online version, 1995. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.488165.

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Flores, Judy. "Art and identity in the Mariana Islands : issues of reconstructing an ancient past." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300724.

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The Marianas, a chain of small tropical islands in western Micronesia, were the first to be subjected to colonisation in the Pacific and are among the last to move into self-governance. The islands were administered as a Spanish colony for 230 years following establishment of a Jesuit mission in 1668. The United States claimed Guam during the Spanish-American War in 1898, while Germany then Japan and finally the United States governed the Northern Marianas. This long period of colonisation largely obliterated the native Chamorros' consciousness of an indigenous past. Rapid social changes that began in the 1960s had severely undermined the Chamorro sense of identity by the beginning of the 1980s. Counterforces, however, were beginning to take shape, driven by local as well as international movements. Using Chamorro art as a theme, this thesis traces the history of the native people and their cultural transformations which defined their identity as a continuing cultural group, despite their loss of an indigenous history. Recent social, economic and political changes have triggered a movement to express their identity as a people separate from their colonisers. Indigenous artists are involved in a renaissance of artistic creation that draws on perceptions of their pre-contact culture for inspiration. Chapters explore the beginnings of a self-conscious cultural awareness and subsequent reconstruction of their ancient history, expressed through neo-traditional creations of song, dance and visual art forms. Their sources of inspiration and processes of creating identity symbols from an ancient past are revealed through extensive interviews and fieldwork. Indigenous ways of looking at history and perceptions of both insiders and outsiders regarding validation of these art forms are discussed in terms of local examples which are compared to Pacific and global movements of decolonisation and identity formation. The text is referenced by an appendix of over 150 photographic examples of Chamorro art and artefacts from museums, historical documents and fieldwork

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Thliveri, Hara. "Evidence for the Discobolos of Myron and its place in ancient Greek art." Thesis, King's College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632839.

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Tanner, Jeremy James. "The invention of art history : religion, society and artistic differentiation in ancient Greece." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296707.

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Kivi, Nicholas. "Reverse Engineering of Ancient Ceramic Technologies from Southeast Asia and South China." Thesis, The University of Arizona, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13426471.

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Ceramic technologies of Myanmar and South China were analyzed in order to determine characteristic traits and technological origins. Given Myanmar’s geographically strategic position between China and Southwest Asia, its ceramic history needs to be reevaluated among the distinct traditions of Southeast Asia. The ceramics of Myanmar show evidence of imitation China and Southwest/Central Asia using locally sourced materials, giving support to Dr. Myo Thant Tyn’s theory of the convergence of the Chinese and Southwest/Central Asian ceramic traditions in Myanmar.

Seven ceramic technologies of Myanmar were analyzed: celadons, black-glazed jars (lead-barium and lead-iron-manganese glazes), brown ash glaze ware, green and opaque white-painted glaze ware and turquoise-glazed, coarse-bodied white earthenware. Celadon glazes and brown glazes were made with ash, similar to the Chinese celadon tradition. Green-and-white opaque ware utilized copper-green colorant glaze decoration with tin and lead oxides as opacifying agents on low-fired oxidized bodies. Both these traditions are probably derived from Southwest Asian ceramic and glass traditions. High-soda, copper-turquoise glazes on coarse white earthenware bodies are influenced by Southwest and Central Asian low-fire ceramic and glass traditions. Black-glazed, “Martaban”-style storage jars were variable in body and glaze technology and are still of indeterminable technological origin. A phase-separated glaze was analyzed that had a similar phase-separated appearance to northern Chinese Jun ware.

Additionally, two black-glazed ware types from South China with vertical streaking phase separation were analyzed: Xiba kiln of Sichuan and Jianyang kilns of Fujian. The recently discovered and excavated Xiba kiln made experimental and striking stoneware bowls similar to Jianyang “hare’s fur” ware. Reverse engineering the manufacture of Xiba kiln ware determined that Xiba was an innovative site that imitated Jianyang ware aesthetically but not technologically. Xiba and Jianyang do not have any connection to the six Burmese glaze styles, however, future analyses of Southeast Asian ceramics can use the data for comparison and variability research.

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Teissier, Beatrice. "Egyptian iconography on Syro-Palestinian cylinder seals of the Middle Bronze Age (c.1920-1550 B.C.)." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277889.

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Sidamon-Eristoff, Constantine P. "The "Whys" of the Grand Cameo| A Holistic Approach to Understanding the Piece, its Origins and its Context." Thesis, Sotheby's Institute of Art - New York, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13423363.

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The Grand Cameo for France is the largest cameo surviving from antiquity. Scholars have debated who is portrayed on the stone and what its scene means for centuries, often, although not always, limiting their interpretations to this narrow area and typically only discussing other causes in passing. This pattern can and should be broken, allowing the stone to be what all objects truly are: windows to the lives that that objects have lived, just as all physical things are; evidence of an experience part of the world went though, whose meanings have and continue to be part of a wider network of object-meanings. The underlying purpose of this thesis is to use the Grand Cameo to prove this point. It does so by asking why the Grand Cameo came into being using Aristotle's four-part fragmented "Why" to widen this meaning broadly enough to expand the scope of what cause means from the vernacular use of the term to include material, formal, efficient and final causes. This allows for a sufficiently satisfactory exploration of many elements of the ancient world.

This thesis comprises an introduction, five chapters, and a conclusion. The first chapter discusses the material sardonyx itself, its possible origin points and how it would have been seen and used in its time in both the India and the west. It discusses the development of trade routes through the Indian ocean and Hellenistic and Egyptian ties to the east which were later taken over by Rome, as well as the Ptolemies, who they replaced. The second chapter discusses the relationship between Rome and Egypt, how their imagery and materials were usurped, and how this connects to the cameo, a medium that became Roman. Chapter three discusses Rome's absorption and reuse of Hellenistic kingdoms, their people and their culture to see how these influenced images of Roman Rulers in the transition from the Republic to the Julio-Claudians. The fourth chapter details the nature of Julio-Claudian power in Rome, the roles the family took over, and how they made themselves essential to the state, especially in how this relates to imagery from the Grand Cameo. Finally, the fifth chapter allows for the exploration of final cause by using a process of elimination based on living number of family members to establish a coherent narrative for the stone's scene, allowing an interpretation of message and intent. It seems most likely to be justifying the handing over of power to Emperor Claudius as intended by the heavens regardless of the plans of his relatives.

A roughly chronological understanding of this stone's role from being plucked from the ground to the imperial court is presented by assessing available material. The expansive nature of the question "Why?" allows for an explanation of the stone both broader and more satisfactory than the intentions of one emperor alone, however interesting. The Grand Cameo intersects with the highly international and interactive dynamics of the ancient world as well as specific elements therein which earlier interpretations do not allow for room to explore.

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Fowler, Michael Anthony. "Bad Blood? Varying Attitudes on Human Sacrifice in Archaic Greek Art." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etsu-works/8905.

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Rosett, Isabelle George. "Voices of Ancient Women: Stories and Essays on Persephone and Medusa." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1008.

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This thesis combines art historical analysis and creative writing in a collection of essays and short stories centered on the myths of Persephone and Medusa. Ancient art, text, and context is considered in the essays, while the stories approach these subjects on a more contemporary and personal level.

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Kilker, Laurie A. "Dining like Divinities: Evidence for Ritual and Marital Dining by Women in Ancient Greece." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1229092295.

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Kouneni, Garyfallia. "Antiquity through medieval eyes : the appropriation of antique art in the Trecento." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/727.

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Davis, Anna. "Civitas: A Game-Based Approach to AP Art History." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3846.

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To increase student engagement as well as cover the content of Ancient Rome, the author developed a game named Civitas for an AP Art History course. The question driving this research project was, "Will incorporating a game into this Ancient Rome unit increase engagement without sacrificing the academic integrity of the class?" Research about engagement as well as others' success incorporating games into the classroom was examined to determine the benefits and difficulties. Much of the work for this unit came before any teaching occurred: designing all aspects of the game as well as carefully determining how it would contribute to measurable learning objectives. The researcher video recorded three AP History courses, with a total of 8 students, over a period of one week. Data collection measures used to determine engagement included a video-recording of the class, keeping a log of engaged behaviors, personal observations, and student free-response questions. Data collection measures to determine evidence of learning content about Ancient Rome included analysis of students' homework, discussions in the class, a multiple-choice test, and an essay test. Upon analysis, it was concluded that playing Civitas greatly increased engagement as well as contributed to the academic integrity of the unit. However, it also took twice as long to engage with the same subject matter, was expensive to produce, and many hours of preparation, which limits the ability to share this learning strategy with others.

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Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.

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This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.

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Pareja, Marie Nicole. "Monkey and Ape Iconography in Minoan Art." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/361253.

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Art History
Ph.D.
This dissertation examines monkey and ape iconography in Minoan art during the Aegean Bronze Age (ca. 3,000–1,100 B.C.). Although a broad range of animals exist for depiction, Minoan artists carefully selected each subject in order to fulfill specific roles. Monkeys and apes appear to function differently than the other creatures that are depicted in art. Rather than subscribing to the general roles played by other animals, these primates may be shown outdoors, behaving like wild animals, or in a ceremonial context, participating in a ritual. Monkeys also imitate human activities. The deviation of primates from the typical roles of other animals found in Minoan art invites a deeper investigation of the role and iconography of apes and monkeys. In this study, three types of media that bear depictions of primates are considered. These media include figurines, glyptic art, and wall paintings. First, a review of the stylistic features of Minoan art and the possibility for the use of pattern books is discussed. Next, monkey and ape iconography in Egyptian art is explored. A thorough review of the creatures’ iconography in Minoan art follows, which includes the identification of figures as either ape or monkey, as well as a detailed description and conclusions about each type of representation. A new possible reconstruction of the Saffron Gatherer fresco is also included. Finally, the possible origins of Minoan primate iconography are considered, as well as the possible implications of the creature’s history, development, and roles. With this information in mind, the Offering to the Seated Goddess scene is then examined. The possible reconstruction of a crocus ceremony is proposed and explained, and the Levantine parallels for the compositional arrangement of the scene are also addressed. These conclusions may directly inform greater themes in Minoan culture, such as religion and cult practices.
Temple University--Theses

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Fechik, Jennifer R. "Interaction in the Symposion: An Experiential Approach to Attic Black-Figured Eye Cups." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363802054.

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Gesiot, Irene <1992&gt. "The art of war and The thirty-six stratagems: Chinese ancient pragmatism and project management." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13629.

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Since China became one of the main actors in the world economic scenario, the interest towards its exotic culture raised meaningfully. Focusing on a business perspective, one book in particular has fascinated academics, experts and businessmen of the whole world. This book is The art of war, a compendium of military techniques and rules, dense with meaning and philosophy. The international celebrity it has achieved is not at all comparable with The thirty-six stratagems’ one, even though the latest is a bright example of Chinese thought and even though its business application are widespread in China and East Asia. In this work, I will try to find the connections existing between these two books and apply them to the specific business objective of Project Management, a smaller, trendy and quite new branch of economics. In the very last part of this work, there will be some space for some examples coming from the real world, in the specific from ZTE, a Chinese multinational company making a project in Italy.

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D'Angelo, Tiziana. "Painting Death with the Colors of Life: Funerary Wall Painting in South Italy (IV-II BCE)." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10920.

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This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics.
The Classics

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Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phh285.pdf.

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Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.

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Babcock, Jennifer. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri| Their Artistic and Social Significance." Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3635084.

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Because of the lack of provenance or accompanying text, the depictions of anthropomorphized animals on ancient Egyptian New Kingdom ostraca and papyri have long puzzled Egyptologists. Attempts to understand the ostraca usually focus on the role reversals where predatory animals serve their natural prey, which is evident in some of the motifs. Some scholars have suggested that these images are satirical and served as an outlet for mocking elite society. However, their social and cultural context, which has not been thoroughly explored until this dissertation, shows that it is unlikely that the images were considered to be negatively charged social satire. Rather, it is more likely that they were envisioned as humorous parodies of primarily elite imagery that were produced by individuals who considered themselves to be elite as well. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri: Their Artistic and Social Significance" is also the first time the vignettes are given a full art historical treatment in which the formal qualities of the drawings are studied and evaluated. As a result, this dissertation addresses the aesthetic value of these drawings in ancient Egypt, which will be of interest to the discipline of art history on more general terms as well. Another section of this dissertation discusses the narrative potential of the papyri and ostraca on which these anthropomorphized images are drawn. Though the narrative qualities of these images have been discussed before, this dissertation addresses the broader concerns of visual narrative construction in ancient Egyptian art, which has thus far been given little scholarly attention. The figured ostraca and papyri on which these anthropomorphized animals are drawn show that visual narrative construction in ancient Egypt is not necessarily linear and sequential, but can also embody fluid, and more open-ended narrative constructions that is evident in not only the decorative programs of elite tombs, but in written ancient Egyptian literature as well.

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Dochniak, Craig Charles 1964. "Kingship festival iconography in the Egyptian Archaic Period." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/278001.

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The high degree of correlation existing between the subject matter visually depicted on Early Dynastic Egyptian objects and the year-names represented hieroglyphically on the Palermo Stone--an historical annal from the Fifth Dynasty--suggests that much Early Dynastic imagery was meant to serve as a dating device, a kind of pictorial year-name, based on the important event or events that occurred within the year. The selection of the historic events referred to in these year-names appears to be based on their compatibility with certain festivals associated with the king. These festivals express the theoretical model of kingship and therefore can be used to reconstruct the king's primary roles and responsibilities during the Early Dynastic Period. Such duties include the unification, protection and expansion of the king's realm--both Earthly and Cosmic; the insuring of the irrigation and fertility of the land; the foundation and dedication of important buildings and temples; and the reaffirmation and magical rejuvenation of his primeval powers as expressed in such festivals as the Sed.

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Moore, Cathie A. "Eternal Gaze: Third Intermediate Period Non-Royal Female Egyptian Coffins." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1401301633.

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Stearns, Shannon Emily. "The Collection of Queen Christina of Sweden: Repurposing Ancient Iconography to Redefine Modern Queenship." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/403153.

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Art History
M.A.
In this paper, I analyze the life and collection of Christina, Queen of Sweden (1626-1689), as a complex and shifting performance of gender, authority, and other aspects of identity. I argue that Christina’s education and life experiences actively informed her collecting preferences for certain types of mythological figures, which became an effective tool of her self-fashioning as a ruler who broke away from what she viewed as the confines and expectations of her gender. I will demonstrate how her strategies as an astute patron and collector of the arts were central to her subversive presentation as an almost androgynous self-exiled ruler in Rome, who could emulate both male and female virtues equally in order to transfer her former political power to new social and cultural capital. Christina’s collection, newly assembled in the Palazzo Riario in Rome, served this purpose by creating a controlled environment that enforced particular relationships between collector and spectator, spectator and collected objects, as well as among the objects themselves. This thesis weds the various theories of Queen Christina and her collection into a comprehensive theory of her larger project of self-fashioning, arguing that her collecting practices regarding both ancient and contemporary works followed a cohesive philosophy in her politics of collection and display, even while largely challenging the decorum of female patronage. Christina’s self-promoted identity as Minerva of the North forces the viewer to contemplate the items in the collection both on their own and in conversation with one another as part of a larger display. In the nudes of the Stanza dei Quadri on her second floor, as well as the antiquities featured on the ground floor, Christina used the relationship between images and sculptures to create an allegorical pantheon focused on her own self-control and authority. In understanding objects’ interactivity, it is possible to interpret Christina’s renovations to the Palazzo Riario and the display of her collection as a modern day Parnassus or Arcadia, which she used to establish her Roman home as a primary location of scholarship and creation. The contents and display of her collection extended her desired persona as a leader of wisdom and user of knowledge not easily bound by the constraints of either gender. The metaphorical space of Arcadia that she created strengthened her alignment with Minerva, the goddess of wisdom and warfare, and implicitly also with Apollo, who presided over Parnassus. In the case of Queen Christina, we have found that in addition to the personal prestige associated with obtaining valued items, the display of these items in a kind of curated space added value and meaning to the viewing experience.
Temple University--Theses

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Penman, Jill Diana. "Spolia and Spectacle: Art Collecting Culture in Late Republican Rome." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/702.

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This thesis looks at the evolution of art collection in the middle to late Roman Republic. Through the examination of military triumphs, manubial structures, and the sculpture collection of the Villa of the Papyri in Herculaneum, this paper investigates the social motivations for art collection. Art’s role in Roman society as both spolia and luxuria is discussed through use of ancient literary sources and archaeological evidence. The evolving role of collection is considered as an expression of national and social identity in a politically changing Rome.

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Trever, Lisa Senchyshyn. "Moche Mural Painting at Pañamarca: A Study of Image Making and Experience in Ancient Peru." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11013.

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This dissertation is a study of the late Moche murals found within the adobe temples of Pañamarca, Peru (ca. 600-850 CE). This project was designed to redress the problem of iconographic decontextualization of the Pañamarca paintings that, through limited documentation and repetitive scholarly publication, had become effectively untethered from their material moorings and spatial settings. New fieldwork succeeded in contextualizing and conserving remains of all known mural paintings. This field research also resulted in the discovery of a new corpus of paintings at the site. Together these paintings form a case study on image making and visual experience in a Pre-Columbian era without contemporaneous writing. This art historical study of archaeological monuments makes several contextual moves. Most concretely it mounts evidence for the situated experiences of images by ancient beholders. This includes analysis of spatial patterns that governed both visual and kinaesthetic approaches to images, as well as forensic indices of human-image engagement and response through time. The approach is not, however, exhausted by the nested contexts of architecture, archaeology, and geography. Meaning is further established through the discernment of philosophical propositions set forth in the broader corpus of ancient Moche art, material culture, and ritual practice. This work proposes to yield emic perspectives on mimesis, corporeality, and spatiality. An embodied approach to image and space is not merely imported from theory developed elsewhere, but is grounded in the Andean cultural setting at hand. The orthodox Moche imagery of the Pañamarca murals was arrayed in specific, strategic ways in both plazas and private spaces. In some areas life-size paintings may have modeled mimetic performance that perpetually enlivened ritual architecture. Elsewhere densely composed imagery would have enveloped the bodies of ritual practitioners and devotees, as they were absorbed into a private architectural repository of specialized knowledge. This is unusual in the Moche world where the innermost spaces of lavishly decorated temple complexes are themselves usually devoid of painted images. The paintings of Pañamarca are interpreted as efficacious in the articulation, embodiment, and recollection of late Moche ideology and identity as it crystallized on the southern periphery in the Nepeña Valley.
History of Art and Architecture

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Pahl, Brenton. "From Ancient Greece to Surrealism: The Changing Faces of the Minotaur." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511613466777073.

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Savela, Sarunas <1992&gt. "The conceptualisation of music in ancient Greek thought (V century B.C. – II century B.C.)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/10446/1/The%20Conceptualisation%20of%20Music%20in%20Ancient%20Greek%20Thought.pdf.

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The focus of this dissertation is the analysis of the music-related philosophical passages from the 5th century B.C. to the 2nd century B.C. It aims to provide a multifaceted view towards music as a cultural phenomenon, which is based primarily on the philological and culturological explorations instead of the technical-musicological approach. The texts from our selected period attest that mousikē had an extremely broad conceptualisation which led to the attribution of the different, sometimes completely opposite value: from an insignificant performative practice to an activity which corresponds to the divine laws and directly affects the human soul. The discussed testimonia provide evidence of defining music both as an exclusively acoustic phenomenon and as a philosophically significant concept that oversteps the sonic definition. Our sources clearly demonstrate that mousikē was a polysemous term: it was understood as an interdisciplinary form of art (as the arts of the Muses), though it was also used to indicate the exclusively instrumental music or a philosophical concept, which does not necessarily define sound as its essential quality. The aim of this dissertation is to clarify the arguments behind each of these positions, to analyse whether such different modes of conceptualisation are compatible among themselves, and to see how they fit together into explaining what was understood as music in Antiquity. In this thesis we explore the conceptual framework of mousikē and analyse what enabled the musical thought to be worthy of the attention of the greatest philosophical minds. We will demonstrate that it was not the sound or the artistic practices that were central in the philosophical thought on music, but instead the embedded structural qualities that have correspondence to the universal proportions of the cosmic world and which are perceptible to the listeners through the medium of sound.

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Cox, Cybele Frances. "Ornamental Hallucination." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20358.

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Ornamental Hallucination proposes to reconstruct a polyphony of ancient Pagan symbols as feminist archetypes to disrupt hegemonic narratives. With the potential to transform reality it pronounces the importance that art has to reinstate the values of creativity and the imagination, envisioning new ways of looking at ourselves in the world, and the possibility for change. It outlines the power obsessed play of mass culture’s construction of manufactured consent by the barrage of twenty-four hours per day of advertising, news media and entertainment. Asserting that the ideas on the psychedelic experience, which sprang from the counter-culture of ‘the 1960’s’ is one way to liberate the mind from the trappings of hegemonic thinking. It claims that as artists are on the periphery of society, it is unlike any other discipline and therefore able to take on absurd theories as a way of critiquing the machinations of established thought. Ornamental Hallucination examines the revival of the feminine principle through a psychedelic framework that links us to nature, or as McKenna says, to Gaian consciousness, via ancient shamanic practices and the invention and construction of positive and mythically empowered feminine role models as a guide for the soul, breaking down binary thinking and reconnecting psychically to our ancestry, to our bodies and lived and shared experience. Using examples of my work, I trace a lineage with other feminist artists, linking them to the theme of the archaic revival. Pagan feminine symbols are interpreted for a contemporary lexicon placing art in ritualistic context and appointing it the role of historical corrective to the ills of cultural engineering. Ornamental Hallucination in its physiological dimension will comprise of four large freestanding ceramic sculptures, one candelabra wall piece, a wall painting and a performance with a costume made from ceramic, found objects, textile and cow horn. All ceramics are fired and painted in oil.

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Makin, Douglas. "Zone-Decorated Pots at the Hatch Site (44Pg51): a Late Woodland Manifestation of an Ancient Tradition." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1550154002.

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Excavated in the 1970s and 80s by Lefty Gregory, the Hatch site is arguably among the most significant precolonial archaeology sites in the Commonwealth of Virginia. Though the collection sat in storage for decades, it recently became accessible to researchers. The thorough excavation combined with abundant radiocarbon data allow the historical narrative of this magnificent site to come into focus. an unusual place, hidden in a remote location, the Hatch site witnessed at least 600 years of regularly occurring ritualized gatherings. These gatherings involved the sacrifice and internment of dogs as well as elaborate feasts on both estuarine and terrestrial resources. This study focuses on the ornate zone-decorated pottery found at the Hatch site. This unusual ceramic type originated in the Delaware River Valley during the second half of the Middle Woodland period. It appeared at the Hatch site during the Late Woodland period when Native people used it in the largest and most elaborate of these feasting rituals. This thesis presents the precolonial history of the Hatch site and discusses the place of zone-decorated pots within this narrative.

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Fowler, Michael Anthony. "Unsavory Sights: Cannibalism in Greek Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/8911.

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Rohkea, Seija Sisko. "When contemporary design constructs new narratives| A look at the art of the ancient Americas installation at the Los Angeles County Museum of Art." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523246.

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Abstract:

In 2008, the Los Angeles County Museum of Art's collection of pre-Columbian artifacts was re-installed in a gallery designed by contemporary artist, Jorge Pardo. The history of these ancient objects dates back over three thousand years, but new meanings emerged and critical issues unfolded when these culturally displaced objects were staged within Pardo's flamboyant design. This collision of indigenous and contemporary cultural narratives is examined on three levels: the problems inherent in the constructed knowledge of ancient objects; the changes that have taken place in systems of ethnographic display; and the critical reception of Pardo's design and its implications in terms of a politics of display. This thesis argues for the need to respect cultural patrimony, but the value of critical awareness raised by Pardo's design intervention is also acknowledged.

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Carothers, Milena R. "Ancient Cypriot Glass: Production, Reception, and the Collections at the Claremont Colleges." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1339.

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Abstract:

This thesis examines the collection of Cypriot glass stored in the basement at Scripps and its context throughout history. The first chapter focuses on the collection itself and includes a brief summary of the founding of the Mudd family’s Cyprus Mines Corporation, which led to the collection of the glass. The repatriation of the collection is also detailed. The second chapter examines the history of Cyprus, and how valuable resources such as copper led to trade on the island. A history of glass is given: how it was made, what it was made out of, and how it was used and appreciated at different times in history. The third chapter addresses the history of the glass trade and production on Cyprus. Island-specific shapes and production are explored. This chapter also looks at how glass was valued and used by different levels of society as glass production evolved and led to a saturated market. The fourth chapter focuses on five pieces selected from the Scripps and Mudd collections. These case studies include conservation condition reports. Physical description, condition, use, and similar examples in other collections are detailed. The final chapter addresses glass conservation. It contains an analysis of previous conservation interventions, descriptions of different types of weathering and degradation, and tips for stabilizing, storing, shipping, handling, and displaying the collection.

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Dissertations / Theses on the topic 'Ancient Art'

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