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Relevant bibliographies by topics / Archaic and classical Art

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Academic literature on the topic 'Archaic and classical Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Archaic and classical Art"

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Mertens, Joan R., and Cedric G. Boulter. "Greek Art: Archaic into Classical." American Journal of Archaeology 90, no. 2 (April 1986): 235. http://dx.doi.org/10.2307/505438.

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Lissarrague, Francois, and Judith M. Barringer. "Divine Escorts: Nereids in Archaic and Classical Greek Art." American Journal of Archaeology 100, no. 2 (April 1996): 425. http://dx.doi.org/10.2307/506917.

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Roccos, Linda Jones, and Judith M. Barringer. "Divine Escorts: Nereids in Archaic and Classical Greek Art." Classical World 91, no. 4 (1998): 300. http://dx.doi.org/10.2307/4352085.

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Moignard, E. "Note. Divine escorts. Nereids in archaic and classical Greek art. J M Barringer." Classical Review 46, no. 2 (February 1, 1996): 387–88. http://dx.doi.org/10.1093/cr/46.2.387.

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Oakley, John H., Karl Schefold, and Alan Griffiths. "Gods and Heroes in Late Archaic Greek Art." Classical World 88, no. 3 (1995): 233. http://dx.doi.org/10.2307/4351716.

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Vlassopoulos, Kostas. "Greek History." Greece and Rome 65, no. 2 (September 17, 2018): 253–59. http://dx.doi.org/10.1017/s0017383518000190.

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This is a particularly rich crop of books on Greek history. I commence with two important volumes on citizenship in archaic and classical Greece. Traditional narratives of Greek citizenship are based on three assumptions: that citizenship is a legal status primarily linked to political rights; that there was a trajectory from the primitive forms of archaic citizenship to the developed and institutionalized classical citizenship; and that the history of citizenship is closely linked to a wider Whig narrative of movement from the aristocratic politics of archaic Greece to classical Athenian democracy.

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Nováková, Mgr PhD Lucia, and Mgr Monika Pagáčová. "Dexiosis: a meaningful gesture of the Classical antiquity." ILIRIA International Review 6, no. 1 (July 27, 2016): 209. http://dx.doi.org/10.21113/iir.v6i1.213.

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Dexiosis is a modern term referring to the handshaking motif appearing in ancient Greek art, which had specific meaning and symbolism. Though it was a characteristic iconographic element of the Classical antiquity, its roots can be traced back to the Archaic period. Dexiosis was not merely a compositional element connecting two people, but carried a deeper meaning. Most often, the motif was associated with funerary art of the Classical Athens. On funerary monuments the deceased were depicted in the circle of their families, which reflected the ideals of contemporary society. Particularly notable is the contrast between the public character of the funerary monument and the private nature of the depiction. Its meaning should be perceived in terms of both the intimate gesture expressing emotions and the formal presentation of the family. Dexiosis emphasized a permanent bond as the fundamental element of the family in particular, and society in general. At the same time, it was associated with the theme of farewell. The gesture was performed by two people in a dialogical composition, which clearly showed their mutual relationship and the figures were depicted in various compositions regardless of their gender or age. The motif was also used in the Hellenistic and the Roman art.

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Markoe, Glenn E. "The "Lion Attack" in Archaic Greek Art: Heroic Triumph." Classical Antiquity 8, no. 1 (April 1, 1989): 86–115. http://dx.doi.org/10.2307/25010897.

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Hafner, Markus. "Guy Hedreen: The Image of the Artist in Archaic and Classical Greece. Art, Poetry, and Subjectivity." Gnomon 89, no. 7 (2017): 585–91. http://dx.doi.org/10.17104/0017-1417-2017-7-585.

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D'Agostino, Bruno. "Image and Society in Archaic Etruria." Journal of Roman Studies 79 (November 1989): 1–10. http://dx.doi.org/10.2307/301176.

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There are no direct visual representations of the city in Etruscan art, any more than there are in Attic art. Indeed the civic aspect of the Etruscan world is in general particularly elusive; even in inscriptions, references to political and social structures are rare and brief. In the case of Athens, the study of the imagery of Attic vase-painting as a unified and structured system of representations has revealed hitherto unsuspected significations. It is true that the basic places and occasions of social, institutional, political and religious life are not themselves portrayed; yet the social categories and essential functions of the city are displayed, through the medium of a kind of anthropological description.

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Dissertations / Theses on the topic "Archaic and classical Art"

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Fowler, Michael Anthony. "Bad Blood? The Sacrifice of Polyxena in Archaic Greek Art." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/8907.

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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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Mihaloew, Andreya. "An Exploration of the Function of Lamps in Archaic and Classical Greek Culture: Use, Concepts, and Symbolism." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10472.

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Scholarship on Archaic and Classical Greek lamps has traditionally been in the form of typological studies and catalogues. This dissertation represents an alternative to such works, offering a fuller picture of the function of lamps in Greek life. Incorporating archaeological, iconographic, and literary evidence, the study takes a gendered approach to lamp use, examines the objects’ social and symbolic functions, and explores their conceptual place in Greek society. The core of the dissertation consists of three main chapters. Chapter two looks at women and lamps. It begins with an examination of the opening lines of Aristophanes’ Ekklesiazousai, and then assesses women’s lamp use in the home, where the objects helped women perform tasks ranging from early-morning baking to genital depilation. Their use by women at Athens during funeral processions is also considered. Indeed, women and lamps were closely linked during these periods. The objects came to symbolize domesticity and, by association, femininity. They also helped to create and perpetuate female stereotypes, and could be instrumental in controlling women’s behaviors. Women’s conceptions of their lamps grew from use: they saw them as quiet companions and perhaps emblems of burden. Chapter three investigates male lamp use. Lamps and their stands played a role in civic and private dining. They functioned on many levels within red-figure representations of the symposium, and these images offer clues about lamp use at actual symposia. When carried by individuals for street lighting, lamps facilitated travel in the dark while marking the social status of their users. Many literary references suggest that men connected the objects with the concept of exposure, of matters private as well as political, an idea connected to the objects’ use and symbolism in the female arena. Chapter four explores the significance of lamps in the contexts of burial and religion. To a certain extent, the association between women and lamps observed in the home obtained in these spheres, especially in graves on Sicily and in cults of female deities. The study and its findings expand our understanding of uses and perceptions of an often overlooked class of objects, and of gender and social dynamics in Archaic and Classical Greece.
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Fowler, Michael Anthony. "Reflections on Beauty and Ugliness: An Exceptional Archaic Greek Mirror at the Getty." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/8906.

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This paper consists of a focused, formal, and iconographic analysis of a unique Late Archaic bronze hand mirror said to originate in Magna Graecia, now in the Getty Museum. Of particular interest is the way the object fuses and juxtaposes two semantically dense and interrelated devices from the ancient Greek world: the mirror and the severed head of the Medusa (gorgoneion). While gorgoneia are generally encountered as ornaments on Greek mirrors, the Getty example is the only extant case in which Medusa’s head occupies the entire backside of the mirror, effectively functioning as a Janus-faced counterpart to the user’s face reflected in the disc. Scholars tend to explain the significance of gorgoneia on objects like the Getty mirror with reference to apotropaic and/or humorous effects. Yet Fowler proposes that the mirror’s incorporation of the gorgoneion may be appreciated on deeper conceptual and phenomenological levels: as a visual “comment” on the nature of the image (representational and reflected) and of (female) beauty and ugliness, which is accomplished by, and experienced through, using the object. Close examination of the Getty mirror thus offers critical insights into the complex interplay between gender, aesthetics, image-making, and visual experience in ancient Greek culture.

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Parisinou, Eva. "The light of the gods : the role of light in archaic and classical Greek cult /." London : Duckworth, 2000. http://catalogue.bnf.fr/ark:/12148/cb37216077x.

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Dijk, Johannes Gerardus Maria van. "'Aînoi, lógoi, mŷthoi : fables in archaic, classical and Hellenistic Greek literature : with a study of the theory and terminology of the genre /." Leiden ; New York ; Köln : Brill, 1997. http://catalogue.bnf.fr/ark:/12148/cb37535209p.

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Proefschrift--Letteren--Nijmegen--Katholieke universiteit, 1997.
Titre translittéré du grec (polytonique) selon la norme ISO 843 (1997). Bibliogr. p. 577-610. Notes bibliogr. Index. Résumé en néerlandais.

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Huard, Warren. "Herakles and Dionysos in Archaic Greece." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524138144683543.

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Sheedy, Kenneth A. "The archaic and early classical coinages of the Cyclades." London : Royal Numismatic Soc, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016094867&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Nell, Erin Ann. "Astronomical orientations and dimensions of Archaic and Classical Greek temples." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291618.

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Previously it has been assumed that the majority of Greek temples were oriented towards the eastern horizon, in the direction of sunrise. The author of this thesis conducted a GPS temple orientation survey of eight Greek Doric temples and concluded that these structures were actually oriented to the western, not eastern, horizon, in the direction of sunset. The following facts support this hypothesis: (1) of the eight temples surveyed, the western orientations of six were more precise than their eastern orientations, (2) in the Archaic and Classical periods of ancient Greece, architecturally aligning structures to the western horizon could have been accomplished with far greater ease and higher precision than to the eastern horizon, (3) literary evidence by Vitruvius supports this claim of western temple alignments, and (4) the lengths of each temple surveyed appear to have been determined via the same technique which oriented them to the sun on the western horizon.

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Lambert, S. D. "The Ionian phyle and phraty in archaic and classical Athens." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234265.

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Books on the topic "Archaic and classical Art"

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Archaic and classical Greek art. Oxford: Cambridge University Press, 1998.

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Osborne, Robin. Archaic and classical Greek art. Oxford: Oxford University Press, 1998.

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Divine escorts: Nereids in archaic and classical Greek art. Ann Arbor: University of Michigan Press, 1995.

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Capturing Troy: The narrative functions of landscape in archaic and early classical Greek art. Ann Arbor: University of Michigan Press, 2001.

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Images in mind: Statues in archaic and classical Greek literature and thought. Princeton, N.J: Princeton University Press, 2003.

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Images in mind: Statues in archaic and classical Greek literature and thought. Princeton, N.J: Princeton University Press, 2001.

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Schwartz, Adam. Reinstating the hoplite: Arms, armour and phalanx fighting in archaic and classical Greece. Stuttgart: Franz Steiner Verlag, 2013.

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Hierà kalá: Images of animal sacrifice in archaic and classical Greece. Leiden: E.J. Brill, 1995.

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Frontiers of pleasure: Models of aesthetic response in archaic and classical Greek thought. New York: Oxford University Press, 2012.

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Lamprinoudakēs, V. K. Hodoiporiko apo tēn archaia hellēnikē technē stē synchronē zōē: Deka mathēmata archaiologias. Athēna: Ekdotikos Organismos Livanē, 2008.

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Book chapters on the topic "Archaic and classical Art"

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Fuglestvedt, Ingrid. "Archaic meetings – a prologue." In Rock Art and the Wild Mind, 1–6. Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315108582-1.

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Pollitt, J. J. "Art: Archaic to Classical." In The Cambridge Ancient History, 171–83. Cambridge University Press, 1992. http://dx.doi.org/10.1017/chol9780521233477.009.

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Stelow, Anna R. "Menelaus in Archaic Art." In Menelaus in the Archaic Period, 204–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199685929.003.0005.

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This chapter explores the depiction of Menelaus in archaic art. Menelaus appears in Greek art by the mid-seventh century BC and continues to be depicted by artists into the classical period and beyond. One may roughly divide images of Menelaus into two categories: ‘with Helen’ and ‘everything else’. Early on, ‘everything else’—depictions of Menelaus without Helen—is in fact more frequent, so far as one can tell from the few images that remain. By the mid-sixth century, however, Menelaus is depicted with Helen almost exclusively. Menelaus-Helen images have been studied by art historians and philologists from the standpoint of Helen. Scant attention has been given, however, to what the pictures ‘say’ about Menelaus. Even though certain iconographic details change somewhat over the course of the sixth century, there is a mostly stable and coherent depiction of Menelaus in black- and early red-figure Athenian vases that differs from his depiction in the classical period. The chapter then provides an annotated catalogue of the known images in which Menelaus appears without Helen.

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Neer, Richard. "Small Wonders Figurines, Puppets, and the Aesthetics of Scale in Archaic and Classical Greece." In Figurines, 11–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861096.003.0002.

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This chapter addresses the aesthetics of smallness with regard to material from Archaic and Classical Greece (roughly, from the late eighth to the late fourth centuries BCE). It sketches a range of historical possibilities to relate ancient Greek concepts of scale and likeness to the research protocols of art history and archaeology. It explores the ancient concepts and corpora, with two propositions: 1. that smallness in Archaic and Classical Greece could be wonderful, in that it could make a work of craft what the Greeks called a thauma idesthai, “a wonder to behold for itself and oneself”; 2. to show that the comparativist method to accommodate ancient categories in a modern disciplinary infrastructure requires an eclectic and egalitarian approach to evidence that combines archaeological taxonomy with the reading habits of philology and art history, corpus scholarship with close looking.

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Penney, J. H. W. "Connections in Archaic Latin Prose." In Aspects of the Language of Latin Prose. British Academy, 2005. http://dx.doi.org/10.5871/bacad/9780197263327.003.0002.

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This chapter presents some of the trends observable in the scanty evidence for early Latin prose that deserve scrutiny and may perhaps shed some light on the development of the classical patterns. Comparison with the Sabellian languages may also be instructive in allowing the Italic background to be taken into account in any attempt to determine distinctive Latin practice. Discussion is largely confined to copulative conjunction, both of words or word groups and of clauses, either by asyndeton or with one of the conjunctions -que, atque (ac) and et, but it should be noted that even in the earliest inscriptions one can find examples of other modes of connection, such as the use of emphatically contrastive words, cf. The atque was well entrenched in early Latin, but Cato’s usage has suggested to many that it was a weightier variant. A careful examination of Plautus’ use of atque may perhaps one day offer some clues to a solution, but verse texts are inevitably problematic.

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Weiss, Naomi A. "Words, Music, and Dance in Archaic Lyric and Classical Tragedy." In Music of Tragedy. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520295902.003.0002.

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This chapter provides a backdrop for Euripides’s experimentation with mousikē in his later plays by surveying the range of musical and choreographic effects in both earlier tragedy and archaic choral lyric. It focuses on the process of “imaginative suggestion,” a term Weiss uses to refer to the way the verbal part of a choral performance can encourage the audience to experience the music and dance in a particular way. Aeschylus and Sophocles make extensive use of “metamusical” language in their plays, so we should not see Euripides’s late work as a radical departure from earlier presentations of mousikē on the tragic stage. These plays are nevertheless musically different as a result of his subtle and innovative reworking of traditional choral forms.

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Meister, Felix J. "Introduction: Approaching Divinity." In Greek Praise Poetry and the Rhetoric of Divinity, 1–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847687.003.0001.

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This chapter starts with a general description of concepts of divinity in archaic and classical Greek literature based on a distinction between quantitative and qualitative aspects of divine life. It argues that humans may approximate to these aspects only separately, and sets out approximation to the qualitative aspects as the object of this monograph. To illustrate this kind of approximation, the Introduction then pursues comparable notions in Hellenistic and Imperial literature, particularly notions of divine bliss in philosophy, of divine joy and beauty in erotic contexts, and of divine power in martial contexts. Finally, it argues that similar notions are conceivable also in archaic and classical literature, in contrast to prevalent accounts of the religious thought during these periods.

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Mackil, Emily. "Property Security and its Limits in Classical Greece." In Ancient Greek History and Contemporary Social Science, 315–43. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474421775.003.0012.

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Scholars working in the New Institutional Economics take it as axiomatic that economic growth cannot happen without secure property rights. In his magisterial survey of the economy of the Greek cities, Alain Bresson has followed suit in asserting that security of property was a precondition for the development of market exchange, fuelling the growth that the Greek world so evidently experienced over the course of the Archaic, Classical, and Hellenistic periods. Yet careful consideration suggests that property in ancient Greece was comparatively insecure. This chapter explores the ways in which individuals could and did lose their property and asks how we are to understand the phenomenon of widespread economic growth in this light.

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Foster, Margaret. "Introduction." In Seer and the City. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520295001.003.0001.

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The introduction sets up the paradox of the conspicuous military seer and the absent colonial one within archaic and classical texts and proposes an ideological reason for the discrepancy. Definitions of key terms (text, culture, ideology, and colonial discourse) and method (New Historicist) are presented. The book’s objectives are then placed in relation to previous scholarship on colonization, colonial narrative, and Greek seers and divination. A subsection offers an overview of the Greek seer for those readers unfamiliar with the seer’s primary functions and role in ancient Greek culture.

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Farrell, Joseph. "Hermes in Love." In Tracking Hermes, Pursuing Mercury, 121–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198777342.003.0009.

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As a lover, Hermes is generally regarded as comparable to other male divinities. His perceived connection to ithyphallic herms only strengthens this impression. In literature, however, the character of Hermes’ erotic activity is different from that of other gods. In general, as might be expected, he relies on stealth rather than force, and he is often content to play a secondary role by facilitating the amorous adventures of other figures. In fact, Hermes can be said in most cases to sublimate his own sexuality in favor of someone else’s, often in a way that bespeaks his own greater interest in homosocial bonding than in sexual conquest. These tendencies are clearly visible in archaic, classical, and Hellenistic representations of Hermes, and they develop in generally consistent and almost predictable ways through classical Roman treatments of Mercury down to quite late texts that become foundational for the medieval reception of classical antiquity.

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Conference papers on the topic "Archaic and classical Art"

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Raimkulova, A. "Eurasian archaic in the post-soviet Kazakhstan art (on example of composers’ creativity)." In Scientific achievements of the third millennium. "LJournal", 2017. http://dx.doi.org/10.18411/scc-30-09-2017-14.

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Tagirov, Philipp. "Eroticism as a Cultural Phenomenon in Archaic and Early Traditional World: Posttraditional View." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.163.

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Kurtz, Donna, Greg Parker, David Shotton, Graham Klyne, Florian Schroff, Andrew Zisserman, and Yorick Wilks. "CLAROS - Bringing Classical Art to a Global Public." In 2009 5th IEEE International Conference on e-Science (e-Science). IEEE, 2009. http://dx.doi.org/10.1109/e-science.2009.11.

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Sychova, A. I. "CLASSICAL MUSIC AS A TREND OF CONTEMPORARY ART." In XIV International Social Congress. Russian State Social University, 2015. http://dx.doi.org/10.15216/rgsu-xiv-412.

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Liu, Jiayuan. "Analysis of Romantic Factors in Classical Music." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.068.

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Nurcahyanti, Desy, Agus Sachari, and Achmad Destiarmand. "Reproduction Classical Characters In Girilayu Contemporary Batik Design." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294713.

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Xiao, Jiugen, and Xijuan Chen. "The Effects of Archaic Chinese on Han dialect in Literary Works and Ancient Records Taking the Development of Gan Dialect as an Example." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.75.

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Ben, Daojie, Dr Sangta, and Dawa Pengcuo. "The Grammatical Categories of the Classical Tibetan Verbs." In 7th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.324.

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Xue, Shengyan. "Study on Suitability of Classical Beauty and Function in Environmental Art Design." In 2nd International Conference on Humanities Science and Society Development (ICHSSD 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ichssd-17.2018.111.

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Su, Qianqian. "Research on the Contemporary Education of Chinese Classical Aesthetic Curriculum in Universities and Colleges: Taking the Course of “Chinese Classical Art and Aesthetics” as an Example." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.107.

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Reports on the topic "Archaic and classical Art"

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Christodoulou, Christiana. Phoenician amphorae in Cypriot Kingdoms during the Cypro-Archaic and Cypro-Classical Periods: Signs, terms, trade, and questions. Honor Frost Foundation, 2020. http://dx.doi.org/10.33583/mags2019.03.

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