Relevant bibliographies by topics / Department of Greek and Roman Art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Department of Greek and Roman Art'

Author: Grafiati
Published: 28 February 2023
Last updated: 26 July 2024

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Journal articles on the topic "Department of Greek and Roman Art"

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Lightfoot, Christopher S. "Fragments of Time: Ancient Glass in the Department of Greek and Roman Art." Metropolitan Museum Journal 51 (January 2016): 30–41. http://dx.doi.org/10.1086/691104.

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Gianvittorio-Ungar, Laura. "Narratives in Motion: the Art of Dancing Stories in Antiquity and Beyond." Greek and Roman Musical Studies 8, no. 1 (March 13, 2020): 174–89. http://dx.doi.org/10.1163/22129758-12341367.

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Abstract The purpose of the symposium “Narratives in Motion. The Art of Dancing Stories in Antiquity and Beyond” was to make original contributions to the thriving field of study on ancient Greek and Roman dance by tackling this issue from an angle which is both specific in that it narrows down the focus on dance narrativity across different performance genres, and inclusive in that it encompasses transcultural, transhistorical and practice-based approaches. With eleven talks by classical and dance scholars and two performances by dance artists, the symposium was able to shed light on a range of practices, genres and cultural aspects relating to narrative dance in the ancient and, to a lesser degree, modern world. The event took place on 22-23 June 2018 at the Department of Classics of the University of Vienna, and was sponsored by the FWF-Austrian Science Fund (Project V442-G25 “Aischylos’ diegetisches Drama”).
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Cook, B. F. "The British Museum, Department of Greek and Roman Antiquities Selected Acquisitions, 1980–1992." Journal of Hellenic Studies 114 (November 1994): 243–47. http://dx.doi.org/10.2307/632801.

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Basso, Elena, Federico Carò, and Dorothy H. Abramitis. "Polychromy in Ancient Greek Sculpture: New Scientific Research on an Attic Funerary Stele at the Metropolitan Museum of Art." Applied Sciences 13, no. 5 (February 28, 2023): 3102. http://dx.doi.org/10.3390/app13053102.

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Polychromy in Ancient Greek Sculpture was the subject of the exhibition Chroma: Ancient Greek Sculpture in Color, held at The Metropolitan Museum of Art (The Met), New York, in 2022–2023. On this occasion, a multidisciplinary project involving The Met’s Departments of Greek and Roman Art, Objects Conservation, Imaging, Scientific Research, and colleagues from the Liebieghaus Polychromy Research Project in Frankfurt, Germany, was carried out to study an Attic funerary monument. The color decoration of the sphinx was reconstructed by combining non-invasive and minimally invasive techniques that provided information about surviving and lost pigments, original design, and painting technique. Results of multiband imaging, digital microscopy, and X-ray fluorescence spectroscopy guided the removal of minute samples from selected areas for examination by Raman spectroscopy and scanning electron microscopy, coupled with energy-dispersive X-ray spectroscopy, to shed light on the pigments and paint stratigraphy. The color palette included two varieties of blue, Egyptian blue and azurite, a carbon-based black pigment, two reds, cinnabar and red ocher, and yellow ocher, all painted directly over the marble without a preparation layer. The scientific findings informed the physical reconstruction of the sphinx made by archaeologists from the Liebieghaus Polychromy Research Project, featured in the exhibition.
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O'Sullivan, Patrick, and Judith Maitland. "Greek and Latin Teaching in Australian and New Zealand Universities: A 2005 Survey." Antichthon 41 (2007): 109–20. http://dx.doi.org/10.1017/s0066477400001787.

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The study of Latin and Ancient Greek at tertiary level is crucial for the survival of Classics within the university sector. And it is not too much to say that the serious study of Greco-Roman antiquity in most, if not all, areas is simply impossible without the ancient languages. They are essential not just for the broad cross-section of philological and literary studies in poetry and prose (ranging at least from Homer to the works of the Church Fathers to Byzantine Chroniclers) but also for ancient history and historiography, philosophy, art history and aesthetics, epigraphy, and many branches of archaeology. In many Classics departments in Australia, New Zealand and elsewhere, enrolments in non-language subjects such as myth, ancient theatre or epic, or history remain healthy and cater to a broad public interest in the ancient Greco-Roman world. This is, of course, to be lauded. But the status of the ancient languages, at least in terms of enrolments, may often seem precarious compared to the more overtly popular courses taught in translation. Given the centrality of the ancient languages to our discipline as a whole, it is worth keeping an eye on how they are faring to ensure their prosperity and longevity.
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Harding, Catherine. "University of Victoria." Florilegium 20, no. 1 (January 2003): 51–53. http://dx.doi.org/10.3138/flor.20.012.

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The Medieval Studies program at the University of Victoria is an interdisciplinary unit whose members come from the Faculty of Humanities and the Faculty of Fine Arts. The idea of creating an undergraduate program in Medieval Studies was developed in 1986-87; since that date faculty members teaching in the Departments of English, French, Hispanic and Italian Studies, Greek and Roman Studies, History, Philosophy, Music, and History in Art have offered courses leading to a Major in Medieval Studies (The program began as a Minor and changed to a Major in 1994). Undergraduates are introduced to key concepts in the study of medieval culture and society in Europe, as well as the medieval Islamic world.
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Trubotchkin, Dmitry. "The Iliad in Theatre: Ancient and Modern Modes of Epic Performance." New Theatre Quarterly 30, no. 4 (October 21, 2014): 379–90. http://dx.doi.org/10.1017/s0266464x14000712.

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In this article Dmitry Trubotchkin focuses on Homer's Iliad as directed by Stathis Livathinos and premiered in Athens on 4 July 2013 as part of the Athens and Epidaurus Summer Festival – as far as is known, the first production of the complete Iliad in world theatre. It was performed by fifteen actors, each of whom played several roles and also acted the role of the ancient rhapsode, or narrator of epics. Livathinos's Iliad restored the original understanding of ‘epic theatre’, which differs from what is usually meant by this term in the light of Brechtian theory and practice with its didactic and distancing emphases. In the Greek performance, the transformation of an actor from one role to another and from acting to narration is constant, and the voice of Homer as a ‘collective author’ can be heard through all these transformations. Livathinos's Iliad may well be a landmark, indicating a new way of presenting epics on the stage. Dmitry Trubotchkin is Professor of Theatre Studies at the Russian University of Theatre Arts (GITIS) and an invited Professor at the Faculty of Arts of the Moscow State University. He heads the Department of Ancient and Medieval Art at the State Institute for Art Studies in Moscow. His publications include ‘All is Well, the Old Man is Still Dancing’: Roman Palliata in Action (2005), Ancient Literature and Dramaturgy (2010), and Rimas Tuminas: the Moscow Productions (forthcoming).
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Barker, Graeme. "Regional archaeological projects." Archaeological Dialogues 3, no. 2 (December 1996): 160–75. http://dx.doi.org/10.1017/s138020380000074x.

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Explicitly regional projects have been a comparatively recent phenomenon in Mediterranean archaeology. Classical archaeology is by far the strongest discipline in the university, museum and antiquities services career structures within the Mediterranean countries. It has always been dominated by the ‘Great Tradition’ of classical art and architecture: even today, a university course on ‘ancient topography’ in many departments of classical archaeology will usually deal predominantly with the layout of the major imperial cities and the details of their monumental architecture. The strength of the tradition is scarcely surprising in the face of the overwhelming wealth of the standing remains of the Greek and Roman cities in every Mediterranean country. There has been very little integration with prehistory: early prehistory is still frequently taught within a geology degree, and later prehistory is still invariably dominated by the culture-history approach. Prehistory in many traditional textbooks in the north Mediterranean countries remains a succession of invasions and migrations, first of Palaeolithic peoples from North Africa and the Levant, then of neolithic farmers, then metal-using élites from the East Mediterranean, followed in an increasingly rapid succession by Urnfielders, Dorians and Celts from the North, to say nothing of Sea Peoples (from who knows where?!). For the post-Roman period, church archaeology has a long history, but medieval archaeology in the sense of dirt archaeology is a comparatively recent discipline: until the 1960s in Italy, for example, ‘medieval archaeology’ meant the study of the medieval buildings of the historic cities, a topic outside the responsibility of the State Archaeological Service (the Superintendency of Antiquities) and within that of the parallel ‘Superintendencies’ for monuments, libraries, archives and art galleries.
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Dickey, Eleanor. "An Immersion Class In Ancient Education." Journal of Classics Teaching 16, no. 31 (2015): 38–40. http://dx.doi.org/10.1017/s2058631015000069.

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In November 2014 the Reading University Classics Department held an unusual event as part of the national ‘Being Human’ humanities festival. We re-created an ancient schoolroom and invited more than a hundred local school-age students to experience antiquity at first hand (specifically, Greek-speaking Egypt in the fourth century AD, as that is the time and place for which we have the most information). Before entering the schoolroom participants donned a complete Roman school costume, removing watches, glasses, and any other visibly modern accoutrements, and learned how to play the part which they would assume once inside. Students learned how to act like an ancient child (a relatively simple process), while the classroom slaves (headed by a distinguished Oxford papyrologist) and the teachers (a superb team of three lecturers and seven undergraduate and MA students from Reading) underwent a longer training to enable them to teach in the ancient fashion.
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von Bothmer, Dietrich, and Maxwell L. Anderson. "Greek and Roman Art." Recent Acquisitions, no. 1985/1986 (1985): 8. http://dx.doi.org/10.2307/1513681.

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Dissertations / Theses on the topic "Department of Greek and Roman Art"

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Pollard, Alison. "Carmen heroum : Greek epic in Roman friezes." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:1bd394a8-200e-48c7-b7b4-e1e7cabd39e0.

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Roman wallpainting has been the subject of innumerable studies from the eighteenth century to the present day, but the epic-themed friezes of Late Republican and Early Imperial Italy have been comparatively neglected throughout this history of scholarship. This thesis therefore seeks to examine the three painted and stucco Iliad friezes from Pompeii, all found on the Via dell'Abbondanza, and the Odyssey frescoes from a house on the Esquiline in Rome, as four examples of a type which had a long history in the Graeco-Roman world, even if their survival in the archaeological record is scant. The primary aim of the study is to understand each frieze in the knowledge of how they might have been regarded in antiquity, as elucidated in Pausanias' commentaries on Polygnotus' Iliupersis and Nekyia frescoes in Delphi, and to understand their extra-textual insertions and spelling discrepancies not as artistic errors but as reflections of the geographical and chronological contexts in which the friezes were displayed. Through detailed study of their iconography and epigraphy, alongside contemporary writers' discussion of the epic genre and its specific concerns for a Roman audience, this study aims to show that the most fruitful course of enquiry pertaining to the friezes lies not in an argument about whether they are entirely faithful to the Homeric epics or depart from them in puzzling ways, but in the observation that reliance on the text and free play on it go hand in hand as part of the epic reception-culture within which these paintings belong.
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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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Fowler, Michael Anthony. "Unsavory Sights: Cannibalism in Greek Art." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/8908.

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Scenes involving the breaking or outright inversion of culinary and (com)mensal norms are frequent in Greek art of the Archaic and Classical periods. The most discussed group of such images involves the uncivilized act of binge drinking unmixed wine and, as a result, losing control of one’s mind and body. Far less studied from an iconographic perspective are scenes of cannibalism, the most extreme and unsettling of all Greek culinary taboos. This paper seeks to define the iconography and meaning of cannibalism in Greek art through an exploration of the individual and shared compositional features of anthropophagic scenes and their visual relationship to normative images of meat consumption. Analytical attention will also be given to the objects on which these scenes appear and the relationship between the scenes and any other decorative content. Of particular interest is the way in which the iconography reflects cannibalism’s association with other serious normative violations, for example, infanticide (e.g., Prokne slaying her son Itys) and inhospitality (e.g., the Egyptian pharaoh Bousiris attempting to sacrifice his guest-friend Herakles). [The manuscript is currently being developed into an article to be submitted for publication consideration, probably in winter 2021.]
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Jones, Lewis Molly Ayn. "A Dangerous Art: Greek Physicians and Medical Risk in Imperial Rome." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1242865685.

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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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Smith, Philip Jonathan. "Greek images of monarchy and their influence on Rome from Alexander to Augustus." Thesis, University of Newcastle Upon Tyne, 1999. http://hdl.handle.net/10443/655.

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This inter-disciplinary thesis traces the influence of Greek images of monarchy on Rome, between 323 B. C. and A. D. 14. The first chapter examines the evidence for Greek perceptions of kings, tyrants, good citizens and ideal rulers in the fourth century B. C. The second chapter considers some developments in political theory during the Hellenistic period, and the practice of Hellenistic kingship. The visual media used for representing Hellenistic monarchy are discussed. The first section of the third chapter reviews the evidence for the points of contact between Romans of the Republican era, and the monarchs, artworks and political thought of the Greek world. A second section analyses the evidence both for the evolution of Roman attitudes towards monarchs and monarchy, over this period of interaction, and changes in Roman political and military leadership. The conventional notion that Romans had been consistently hostile to kings since the fall of Tarquinius Superbus is questioned. The increasing resort to proven individuals (e. g. Pompey) for solving domestic and external crises is documented. The final section of this chapter charts developments in the positive representation of Republican leaders in both rhetoric and art, including favourable portrayals of both Caesar and Octavian. It is suggested that the transformation of Roman thought and practice, under Greek influence, facilitated the successful establishment of a monarchical regime after Actium. The creation of the Augustan dynasty is documented in the final chapter. In addition, ideals of leadership, and Augustan ideas about war, peace and empire, are discussed. A chronological treatment of the contemporary (visual and textual) evidence suggests the heterogeneity of Augustus' principate. New identifications are proposed for certain figures in the 'procession friezes' of the Ara Pacis Augustae.
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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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Armstrong, Naja Regina. "Round temples in Roman architecture of the Republic through the late Imperial period." Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:6bf53ac0-87a0-443c-8daa-f7b710196c4b.

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Roman round temples are usually discussed either in the context of round buildings like baths and mausolea or on a case-by-case basis. Both approaches fail to reveal what makes round temples a distinct architectural type and moreover, what reasons can account for their use throughout the Roman world. By examining round temples from the Republic, when they are first attested, to the early fourth century AD, this thesis aims to explain why the round form had such a lasting appeal. It follows a chronological approach, discussing the evidence for individual temples and situating them within their historical, social, topographical, and architectural contexts. In a comparative analysis, the building components, materials, techniques, decorative details, and proportions employed by round temples are outlined to reveal influences on their design. The round temples discussed in this study are concentrated in Italy, Greece, and Asia Minor. While the earliest examples in Rome draw on Italic traditions, from the late Republic, round temples begin to reflect Greek trends. Greek tholoi and the Greek decorative repertory, balanced by Roman developments in design, have a lasting influence on round temples. Based on tholoi, scholars have assumed that Roman round temples honored Vesta and divinized heroes. While they were celebrated with a few examples, the majority were dedicated to other gods and goddesses. As a result, religious, social, topographical and aesthetic reasons are proposed to explain the enduring appeal of round temples. Like the motivations behind their foundations, the plans, dimensions, and proportional relationships employed by round temples are noted for their diversity. For their individuality and inventive spirit, round temples make a significant contribution to the Roman architectural repertory.
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Wimber, K. Michelle. "Four Greco-Roman Era Temples of Near Eastern Fertility Goddesses: An Analysis of Architectural Tradition." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1277.

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Lucian, writing in the mid-second century AD, recorded his observations of an "exotic" local cult in the city of Hierapolis in what is today Northern Syria. The local goddess was known as Dea Syria to the Romans and Atargatis to the Greeks. Lucian's so-named De Dea Syria is an important record of life and religion in Roman Syria. De Dea Syria presents to us an Oriental cult of a fertility goddess as seen through the eyes of a Hellenized Syrian devotee and religious ethnographer. How accurate Lucian's portrayal of the cult is questionable, though his account provides for us some indication that traditional religious practices were still being observed in Hierapolis despite Greek and Roman colonization. The origins of Near Eastern fertility goddesses began in the Bronze Age with the Sumerian goddess Inanna who was later associated with the Semitic Akkadian deity Ishtar. The worship of Ishtar spread throughout the Near East as a result of both Babylonian and Assyrian conquests. In Syria some of the major sites of her worship were located in Ebla and Mari. The later Phoenician and Canaanite cultures also adopted the worship of Ishtar melding her into their religions under the names of Astarte and Asherah respectively. By the Greco-Roman era, the Nabataeans and Palmyrenes also worshipped a form of the Near Eastern fertility goddess, calling her by many names including Atargatis, Astarte, al-Uzza and Allat. The Greeks and Romans found parallels between this eastern goddess and their deities and added her to their pantheons. Through this process of adoption and adaptation, the worship of this goddess naturally changed. In her many guises, Atargatis was worshipped not only at Hierapolis in the Greco-Roman period, but also at Delos, Dura Europos, and Khirbet et-Tannur. At all of these centers of worship vestiges of traditional practices retained in the cult were apparent. It is necessary to look at the cult as a whole to understand more fully whether her cult retained its original Oriental character or was partially or fully Hellenized. Temple architecture is an important part of Atargatis' cult which is often overlooked in the analysis of her cult. This thesis examines whether Atargatis' cult remained Oriental or became Hellenized by tracing the historical development of the temple architecture, associated cult objects, and decoration from their traditional origins down to the introduction of Greco-Roman styles into the Near East.
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Rae, Heather. "Encountering the monstrous masculine : an exploration of monstrous bodies, behaviour and subjectivity in Greek and Roman literature and art." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4222/.

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This study develops the interpretation of hybrid and human-esque male monsters by examining ambiguous presentations of these figures in Greek and Roman literature and art, putting a fresh perspective on the hero/monster encounter and showing that monsters are developed characters rather than simple heroic attributes, as they are frequently interpreted in modern scholarship. Additional strands running through the thesis are consideration of the hero’s ambiguity through visual similarity to monsters and through shared characteristics; the relationship between monstrous body and monstrous behaviour; the subjectivity of monsters; how masculinity relates to monstrosity; and how monsters operate within the Other/self discourse as ways of exploring human behaviour and relationships in the two monster tale types of heroic encounter and love story. As well as looking at how media and genre affect characterisation, where relevant, the political and social contexts of Greece and Rome will form a background to considering how monsters are presented. This thesis explores the full range of the male monster’s ambiguity (humanised through gestures, clothing, or body; placed into a social context by humanising, or by relationships with humans; given subjectivity) and monstrosity (they explore excessive human behaviour and masculinity), and how the monster is a character in its own right.
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Books on the topic "Department of Greek and Roman Art"

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Mēnakakēs, Vasilēs. Vretaniko Mouseio: Londino. Athēna: Viliothēkē Technēs Hē Kathēmerinē, 2010.

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Knapp, Ruthie. Greek & Roman art. Worcester, Mass: Davis Publications, 2000.

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Vassilika, Eleni. Greek and Roman art. Cambridge, U.K: Cambridge University Press, 1998.

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Capecchi, G. Greek, Etruscan and Roman art. Firenze: A. Bruschi, 1993.

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Toynbee, J. M. C. d. 1985 and Ling Roger, eds. Roman art. 2nd ed. New Haven: Yale University Press, 1995.

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Toynbee, J. M. C. d. 1985. and Ling Roger, eds. Roman art. 2nd ed. Harmondsworth, Middlesex, England: Penguin Books, 1988.

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Dmitrieva, Nina Aleksandrovna. Antichnoe iskusstvo. Moskva: "Detskai︠a︡ lit-ra", 1988.

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Personifications of rivers in Greek and Roman art. Kraków: Nakładem Uniwersytetu Jagiellońskiego, 1991.

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Tarbell, F. B. A History of Greek Art. Ottawa: eBooksLib, 2005.

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Gu dai yi shu pin zhong de shen hua xing xiang. Jinan Shi: Shandong hua bao chu ban she, 2006.

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Book chapters on the topic "Department of Greek and Roman Art"

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Kousser, Rachel. "Adapting Greek Art." In A Companion to Roman Art, 114–29. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch6.

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Cary, M. J., and T. J. Haarhoff. "Greek and Roman Art." In Life and Thought in the Greek and Roman World, 216–38. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003478232-7.

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Smith, Roland R. R. "The Greek East under Rome." In A Companion to Roman Art, 471–95. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch24.

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Hölscher, Tonio. "Art, Architecture, and Spaces in Greek Participatory Communities." In A Companion to Greek Democracy and the Roman Republic, 459–81. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118878347.ch26.

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Töpfer, Kai Michael. "The Goddess of Victory in Greek and Roman Art." In Transcultural Research – Heidelberg Studies on Asia and Europe in a Global Context, 1–18. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11632-7_1.

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Tuck, Steven L. "Representations of Spectacle and Sport in Roman Art." In A Companion to Sport and Spectacle in Greek and Roman Antiquity, 422–37. Oxford: John Wiley & Sons, Inc, 2013. http://dx.doi.org/10.1002/9781118609965.ch28.

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Perry, Ellen. "Art, Architecture, and Space in the Roman Participatory Context." In A Companion to Greek Democracy and the Roman Republic, 482–500. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118878347.ch27.

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Nichols, Kate. "‘[M]anly beauty and muscular strength’: sculpture, sport and the nation at the Crystal Palace, 1854–1918." In After 1851, edited by Kate Nichols and Sarah Victoria Turner. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0005.

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This essay recovers episodes in the wide and varied sporting history of the Crystal Palace in the later nineteenth and early twentieth century, and situates it in the context of ideas about the body, nation and empire that were manifest in the 1850s Fine Arts Courts, showing how the Greek and Roman courts in particular were received in changing ways across Victorian and Edwardian culture. The Sydenham Palace brought together ‘Fine Arts’, consumer, and sporting cultures, and allows an examination of the ways in which these three seemingly disparate areas of study were closely intertwined. The essay emphasises the national, racial and gender politics implicit in the relationship between these three categories. Discussing Sandow’s Institute, the 1911 Inter-Empire Games, and the occupation of the Palace by the Royal Navy during the First World War, it relates the Palace’s apparently more formal Fine Arts Courts and Natural History Department to its grassy grounds, its static exhibits to its moving, breathing visitors, art historical education to bodily reformation.
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Lovén, Lena Larsson. "Roman Art:." In Greek and Roman Textiles and Dress, 260–78. Oxbow Books, 2014. http://dx.doi.org/10.2307/j.ctvh1dh8b.16.

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Harloe, Katherine. "Greek and Roman Art." In Goethe in Context, 141–49. Cambridge University Press, 2024. http://dx.doi.org/10.1017/9781009036436.020.

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Conference papers on the topic "Department of Greek and Roman Art"

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Wang, Keyang. "Comparison of Ancient Greek Art and Ancient Roman Art." In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.041.

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Wang, Ruishu, and Wanbing Shi. "Teaching Objectives and Strategies of Greek and Roman Mythology for College Students*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.141.

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Ouillette, Joanne J. "Designing the Future DDG 51 Class Computer Aided Design." In ASME 1993 International Computers in Engineering Conference and Exposition. American Society of Mechanical Engineers, 1993. http://dx.doi.org/10.1115/edm1993-0105.

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Abstract The DDG 51 Class of AEGIS guided missile destroyers is the Navy’s premier surface combatant. Named for famed World War II hero. Admiral Arleigh Burke, these ships represent state-of-the-art technology. This 504 foot, 8,300 ton destroyer has been designed with improved seakeeping and survivability characteristics and carries the sophisticated AEGIS Weapon System. Derived from the Greek word meaning “shield”, AEGIS ships are the “shield of the fleet”. The Navy has commissioned the first two ships of the class. They have performed beyond expectation in rigorous at-sea trials designed to fully test combat capability. The DDG 51 Class ships are replacing retiring fleet assets. In a decreasing Department of Defense (DoD) budget environment, however, acquisition costs must be reduced to continue to build capable warships. The Navy’s Destroyer Program Office is pursuing the implementation of Computer Aided Design (CAD) and Computer Aided Manufacturing (CAM) technology to reduce costs without reducing ship’s capability. Under Navy direction, the ship construction yards, Bath Iron Works and Ingalls Shipbuilding, are aggressively pursuing the transition to CAD-based design, construction, and life cycle support This effort also involves General Electric, the Combat System Engineering Agent. Building a three dimensional (3D) computer model of the ship prior to construction will facilitate the identification and resolution of interferences and interface problems that would otherwise go undetected until actual ship construction. This 3D database contains geometry and design data to support system design. Accurate construction drawings, fabrication sketches, and Numerical Control (NC) data can be extracted directly from the database to support construction at each shipyard. At completion of construction, a model representing the “as built” configuration will be provided as a lifetime support tool for each ship’s projected 40 year life. The transition to CAD-based design and construction has applied fundamental concepts of the DoD’s Computer Aided Acquisition and Logistic Support (CALS) initiative. In addition to creating a 3D database representing ship design, the shipyards have developed a neutral file translator to exchange this data between Computervision and Calma CAD systems in operation at Bath Iron Works and Ingalls Shipbuilding respectively. This object oriented transfer capability ensures data is shared rather than duplicated. The CALS concepts of concurrent engineering and computer aided engineering analysis are being applied to design an upgrade to the ship that features the addition of a helicopter hanger. The CAD models are used as an electronic baseline from which to assess proposed modifications. Optimizing the design before the first piece of steel is cut will reduce construction costs and improve the quality of the ship.
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