Dissertations / Theses: '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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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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Esposto, Maria Luigina <1972&gt. "La battaglia dell'Arte per l'Arte. Il British Museum e il Greek and Roman Antiquities Department durante la Seconda Guerra Mondiale: il salvataggio della collezione Greca." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14573.

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Il 3 Settembre 1939 la Gran Bretagna dichiarava guerra alla Germania nazista di Hitler. Iniziava così la Seconda Guerra Mondiale. Una guerra che coinvolse tutto e tutti anche il settore artistico-museale dei paesi Europei interessati dalle operazioni belliche. Memori di quanto era accaduto durante la Prima Guerra Mondiale, il Governo Inglese e i direttori dei musei, delle gallerie e delle biblioteche nazionali delinearono le linee guida per salvare i tesori che formavano il patrimonio artistico della nazione fin dal Novembre 1933. Una data precoce che permise alle realtà museali inglesi di preparare per tempo l'evacuazione delle opere d'arte più preziose in luoghi che avrebbero garantito loro protezione soprattutto dai bombardamenti aerei. Il British Museum, custode di una delle più importanti collezioni artistiche al mondo, affidò la preparazione del piano generale di evacuazione all'allora Keeper del Greek and Roman Department Sir John Forsdyke. Grazie al suo meticoloso lavoro quando la situazione politica internazionale precipitò, il Museo non si trovò impreparato e fu in grado di mettere al sicuro le sue collezioni. Non fu un'evacuazione totale, impossibile da effettuare data l'enorme quantità di oggetti posseduti, ma selettiva. Evacuare la collezione del Greek and Roman Department non fu un lavoro semplice essendo questa composta da migliaia di reperti di tutte le forme, pesi e materiali, e si dovette anche scegliere quali oggetti dovevano assolutamente lasciare il British. Servirono solo alcuni giorni per spostare i pezzi più importanti nei vari rifugi, ma il loro ritorno alla fine della Guerra richiese anni anche a causa dei gravi danni subiti dal Museo e dal Department duranti i bombardamenti del famoso Blitz.

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Fowler, Michael Anthony. "Between the Gorgeous and Gorgonian: Gender, Aesthetic Experience, and the Getty Mirror." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/8910.

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Rupley, Zachary Scott. "Augustus, Justinian, and the Artistic Transformation of the Roman Emperor." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1863.

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The purpose of this thesis project is to discuss and describe the transformation of the image of Roman Emperor through artistic representation and cultural demonstration. The ultimate goal is to determine why the presentation of the office changed so greatly. I have selected certain works of art depicting the first Roman Emperor, Gaius Octavian Caesar, best known as Augustus, and Justinianus, the greatest Roman Emperor. More than 500 years separates these two men, whose only connection, at first sight, is that both served as Roman Emperor. I will analyze each piece of art, discuss its history, determine what each piece represents and discuss the cosmetics of the Emperor in the work. Once both Emperors have been dissected artistically, I intend to answer the question of why the office of Roman Emperor changed so thoroughly over 500 years by observing cultural and world developments between the first and sixth centuries of the Common Era.

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Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.

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Fowler, Michael Anthony. "Of Cult and Cataclysm: Considerations on a Maiden Sacrifice at Mycenaean Kydonia." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/8909.

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Brophy, Elizabeth Mary. "Royal sculpture in Egypt 300 BC - AD 220." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:590228be-3001-49b3-bf6c-137af08ac71c.

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The aim of this thesis is to approach Ptolemaic and Imperial royal sculpture in Egypt dating between 300 BC and AD 220 (the reigns of Ptolemy I and Caracalla) from a contextual point of view. To collect together the statuary items (recognised as statues, statue heads and fragments, and inscribed bases and plinths) that are identifiably royal and have a secure archaeological context, that is a secure find spot or a recoverable provenance, within Egypt. I then used this material, alongside other types of evidence such as textual sources and numismatic material, to consider the distribution, style, placement, and functions of the royal statues, and to answer the primary questions of where were these statues located? what was the relationship between statue, especially statue style, and placement? And what changes can be identified between Ptolemaic and Imperial royal sculpture? From analysis of the sculptural evidence, this thesis was able to create a catalogue of 103 entries composed of 157 statuary items, and use this to identify the different styles of royal statues that existed in Ptolemaic and Imperial Egypt and the primary spaces for the placement of such imagery, namely religious and urban space. The results of this thesis, based on the available evidence, was the identification of a division between sculptural style and context regarding the royal statues, with Egyptian-style material being placed in Egyptian contexts, Greek-style material in Greek, and Imperial-style statues associated with classical contexts. The functions of the statues appear to have also typically been closely related to statue style and placement. Many of the statues were often directly associated with their location, meaning they were an intrinsic part of the function and appearance of the context they occupied, as well as acting as representations of the monarchs. Primarily, the royal statues acted as a way to establish and maintain communication between different groups in Egypt.

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Pirone, Frederick S. "Trade, Interaction and Change: Trace Elemental Characterization of Maltese Neolithic to Middle Bronze Age Ceramics Using a Portable X-ray Fluorescence Spectrometer." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6930.

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The insular nature of the Maltese archipelago provides a unique opportunity to explore trade and cultural change from the Neolithic to the Bronze Ages in the central Mediterranean. I hypothesize that, during the period in which the Maltese islands were experiencing a form of isolation—owing either to their distance from Sicily and other populated regions, to the collective formation of an inwardly-focused culture, or to a combination of these factors—it is unlikely that pottery played a significant role as either an import or export in the archipelago’s exchange relationships with other communities in the central Mediterranean. I accordingly propose that ceramics were only significant in the interaction networks between Malta and its neighbors during periods when the archipelago was culturally connected to Sicily. Except for a limited number of archaeometric studies (Barone et al. 2015; Molitor 1988; Mommsen et al. 2006), analysis of similarities among ceramic wares produced in Malta and elsewhere that allow archaeologists to draw conclusions about the nature of Malta’s connectivity to other communities has been based on macroscopic observation. The present study builds on the few archaeometric studies by determining the provenance of ceramic samples based on their trace elemental composition. Included in this study were both clay samples and ceramic artifacts representing each of Malta’s chronological phases from the Neolithic to the Bronze Ages. Specifically, in order to address the question of the role that pottery played in the prehistoric trade of the Maltese islands, 392 Maltese ceramic sherds were analyzed using a Bruker III-V handheld portable X-ray fluorescence device, which revealed the relative abundance of six trace elements, namely thorium, rubidium, strontium, yttrium, zirconium, and niobium. The trace elemental composition of the Maltese pottery was compared with that of 18 Sicilian ceramic sherds and clay samples from both Malta and Sicily. The results of this research support my hypothesis in part, suggesting that neither ceramics nor raw clay materials played a significant role in overseas trade during Malta’s period of cultural isolation, which extended from the Ġgantija phase to the end of the Tarxien phase. On the other hand, ceramics played a more active role in Malta’s interaction networks during periods of connectivity with Sicily, for instance in the Neolithic Age. This study also provides the first chemical evidence that Malta exported pottery to Sicily during the Bronze Age and that Malta’s contact with Mycenaeans was indirect in nature. The findings presented here thus contribute to understanding Malta’s role in trade and interaction networks from the Neolithic to the Bronze Ages and point to new approaches to exploring the cultural change that becomes apparent in the Maltese Temple Period.

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Topan, Juliana de Souza. "O "Sitio do Picapau Amarelo da Antiguidade" : singularidades das Grecias lobatianas." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252452.

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Orientador : Joaquim Brasil Fortes Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-08T14:15:48Z (GMT). No. of bitstreams: 1 Topan_JulianadeSouza_M.pdf: 1075538 bytes, checksum: 4ef21f06979fdb2fabe67c50273f8bbc (MD5) Previous issue date: 2007
Resumo: As primeiras adaptações de mitos gregos em obras destinadas a crianças e jovens, escritas e publicadas no Brasil, datam do início do século XX, em que Monteiro Lobato, autor considerado como um dos fundadores de nossa literatura infanto-juvenil, teve uma importante contribuição. Com a publicação de "O Minoutauro" (1939) e "Os doze trabalhos de Hércules" (1944), Lobato apresenta uma imagem da Grécia Antiga (em especial, do século V a. C., conhecido como "século de Péricles") e da Grécia Arcaica (que ele chama de "Heróica", por ser onde localiza os grandes feitos de heróis guerreiros, como Hércules). Nessas obras, chamanos a atenção a maneira como o autor se apropria da chamada "mitologia grega" - subvertendo, muitas vezes, a versão canônica, re-inventando narrativas, adaptando-as ao público mirim e apresentando uma imagem idealizada da cultura grega antiga e arcaica. Nesse sentido, Lobato revela suas influências de autores franceses, como Ernest Renan e Anatole France, e do filósofo e historiador Will Durant, ao reforçar, em suas obras, a idéia do "milagre grego". Além disso, constrói singularmente a figura do herói Hércules, como um homem bruto em modos e inteligência, mas dotado de grande sentimentalidade. Isso nos faz refletir sobre os diversos modelos de narrativa heróica, em especial, dos heróis grego arcaico (típico da narrativa épica) e europeu moderno (típico da narrativa romanesca)
Abstract: The first adaptations of Greek myths in books for children and young readers, written and published in Brazil, are dated back to the beginning of 20th century. Monteiro Lobato, writer known as one of the founders of our literature for young people, had an important contribution to these first adaptations. By publishing O Minotauro (The Minotaur), in 1939, and Os doze trabalhos de HÃ©rcules (The twelve trials of Hercules) in 1944, Lobato portraits na image of Ancient Greece (especially of the 5th century B. C., called â?¿Age of Periclesâ??) as well as Archaic Greece (which was called "Heroic" by Lobato, for being the period in which the great acts of heroes, like Hercules, took place). In these books, the way in which the writer makes use of the so-called Greek mythology attracts our attention â?¿ sometimes subverting the canonical version, reinventing narratives, adapting them to the young public and presenting na idealized image of the ancient and archaic Greek culture. In this way, Lobato reveals his influences of French writers, like Ernest Renan and Anatole France, and the philosopher and historian Will Durant, by reinforcing in his books, the idea of the "Greek miracle". Moreover, he singularly constructs the image of the hero Hercules, as a rude man, not only in his manners, but also in his intelligence, but endowed with great sentimentality. This causes us to reflect upon the various models of heroic narratives, especially of the archaic Greek heroes (typical in epic narratives) and modern European (typical in roman narratives) ones
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação

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Kokkini, Fotini. "La représentation de la vie quotidienne sur les mosaïques grecques de l'époque impériale." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100047/document.

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La présente étude vise à rassembler et étudier les représentations de la vie quotidienne sur les mosaïques grecques de l’époque impériale. Les scènes qui intéressent sont les images qui présentent des activités humaines, les travaux agricoles, la pêche et la chasse, les spectacles, les rites religieux, les portraits des personnages historiques, des objets, les scènes de la vie quotidienne des autres peuples, des Pygmées et des scènes nilotiques. Les scènes proviennent du territoire de la Grèce moderne qui pendant l’époque impériale était divisé en plusieurs provinces de l’Empire. Les bornes chronologiques s’étendent du 1er s. ap. J-C. jusqu’à la fin du 3e s. – début du 4e s. ap. J.-C. L’étude est divisée en trois parties. La première partie est consacrée à l’iconographie. Les 130 scènes sont classées par sujet et puis interprétées. Ensuite on analyse leur rapport à la réalité, les raisons d’être choisies. En plus on cherche les modèles iconographiques de l’art grec classique et romain et les influences exercées par les autres régions. Dans la deuxième partie on examine la place des scènes dans l’espace, le contexte architectural des scènes, le rapport entre les scènes et les bâtiments, l’association des sujets différents sur un même pavement. L’objet de la troisième partie est l’image de la société comme elle est présentée par les scènes de la vie quotidienne. Ainsi, on étudie la répartition chronologique et géographique des scènes et ce que montrent les préférences régionales pour la société et l’économie de chaque ville. Enfin, on examine le statut social des commanditaires, leur rôle au choix des sujets et les messages qu’ils veulent donner par ceux-ci
The present study intends to collect and examine the representations of everyday life on the Greek mosaics of the imperial period. Thus, it focuses on scenes of human activities, rural labors, hunting, fishing, spectacles, religious rites, the portraits of historical personalities, objects of the everyday life of Pygmies and landscapes of the Nile. The scenes originate from modern Greece which during the imperial times was divided in six provinces. The chronological limits are set from the 1st c. A.D. and the end of the 3rd – beginnings of the 4th c. A.D. The study is comprised of tree parts. The first part is dedicated to the iconography. The 130 scenes are classified according to their subject and are interpreted and analyzed in accordance with their relation to reality, their position on the pavement and in the building, their function and the reasons for being chosen. Additionally, their Greek and Roman iconographical models as well as the regional influences are identified. The second part examines the architectural context of the scenes, the relation between the scenes and the buildings and the association of different subjects on the same pavement. The third part focuses on how the society’s image is represented in everyday life scenes. So we examine the chronological and geographical distribution of the scenes and what the regional preferences reveal for the society and the economy of every town. Finally, we study the social status of the patrons, their role in choosing the subjects and the messages implied by these images and their accompanying inscriptions

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Alfaro, Alicia E. "Prehispanic Water Management at Takalik Abaj, Guatemala." Thesis, University of South Florida, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1547711.

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Land and water use at archaeological sites is a growing field of study within Mesoamerican archaeology. In Mesoamerica, similar to elsewhere in the world, landscapes were settled based partially upon the characteristics of the environment and the types of food and water resources available. Across Mesoamerica, landscape concepts were also important to religious beliefs and ritual activity in a manner that may have had the potential to influence the power dynamics of a site. This thesis focuses on the management of water at the site of Takalik Abaj in Guatemala during the Middle to Late Preclassic periods (c. 1000 B.C. - A.D. 250) in order to analyze potential ritual and political functions of the water management system. Using spatial data within GIS, this thesis examines the flow of water across the site as directed by its topographical features. The archaeological record of Takalik Abaj and comparisons to water management systems at other Mesoamerican sites are also used to investigate the functions of the water management system. Thesis findings suggest that the water management system of Takalik Abaj was multi-faceted and that ritual functions tied to the control of water may have contributed to the identities and power of the elite.

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Matthey, David. "La klimax dans l’art antique." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20036.

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Ce travail trouve son origine dans l’étude d’une stèle funéraire exposée aujourd’hui au Musée archéologique d’Apollonia d’Illyrie, sous le numéro d’inventaire 5030. Le relief, exceptionnel à plus d’un titre, montre une descente aux Enfers par le biais d’un accessoire qui tient autant de l’échelle et de l’escalier que de la passerelle de bateau, puisqu’il aboutit dans la barque de Charon. Comment le dénommer ? C’est le terme grec klimax qui s’impose. Non seulement il renvoie indistinctement aux trois objets précités, en préservant leur multivalence, mais il est aussi le plus largement et le plus anciennement utilisé dans la littérature et l’épigraphie pour les désigner. Dans notre enquête, il est rapidement apparu que la klimax n’avait pas été étudiée pour elle-même par les archéologues qui s’y sont confrontés. Afin de pallier cette lacune, notre travail se consacre tout d’abord au motif de la klimax dans l’art antique, essentiellement dans le cadre légendaire. Klimakes d’assaut, d’embarquement et de débarquement, ou encore klimakes du théâtre antique, forment autant de thèmes examinés où la klimax joue un rôle clé. Une étude circonstanciée du relief d’Apollonia, centrée sur les problèmes que pose son iconographie, complète l’enquête. Cela se justifiait non seulement par la place particulière qu’occupe, dans l’imagerie antique, la scène figurée, mais aussi, et surtout, parce que le motif de la klimax y trouve un emploi exemplaire
This work finds its origin in the study of a funerary relief exposed today at the Archaeological Museum of Apollonia in Illyria, under the inventory number 5030. The relief, exceptional in more than one way, shows a descent into the Underworld through an accessory that is both a ladder and a staircase as a gangway, as it ends up in Charon’s boat. How to call it ? This is the greek word klimax who’s imposed. Not only because it refers indistinctly to the three items mentioned above, preserving their polyvalence, but it is also the most widely and longest used in the literature and epigraphy to designate them. In our survey, it soon emerged that the klimax had not been studied for itself by archaeologists who confronted themselves there. To fill this gap, our work focuses first on the klimax in the ancient art, mainly through mythological context. Klimakes of assault, klimakes of boarding and landing, klimakes in relation with the ancient theater, form as many examined topics where the klimax plays a key role. A detailed study of the relief of Apollonia, which focuses on his iconography’s problems, completes the survey. That was justified not only by the particular place which occupies, in the ancient imagery, the sculpted scene, but also, and especially, because the klimax find here an exemplary use

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DeVoe, Lauren E. "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2020.

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Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.

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Wardle, Marianne Eileen. "Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World." Diss., 2010. http://hdl.handle.net/10161/3120.

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This dissertation presents a study of the Aphrodite Anadyomene type in its cultural and physical contexts. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but with arms raised, naked and unashamed, exposing the goddess' body to the gaze. Depictions of the Aphrodite Anadyomene present the female body as an object to be desired. The Anadyomene offers none of the complicated games of peek-a-boo which pudica Venuses play by shielding their bodies from view. Instead, the goddess offers her body to the viewer's gaze and there is no doubt that we, as viewers, are meant to look, and that our looking should produce desire. As a type, the Anadyomene glorifies the process of the feminine toilette and adornment and as the goddess stands, naked and unashamed, she presents an achievable ideal for the female viewer.

The roots of the iconography of the Anaydyomene can be found in archaic Greek texts such as Hesiod's Theogony and Homeric Hymn from the eighth century B.C.E, as well as in paintings of women bathing on red figure vases from the fifth century B.C.E. The Anadyomene type provides a helpful case study to consider the ways that representations of Aphrodite were utilized. Consulting archaeological reports and detailed studies of display contexts make it possible to reconstruct and imagine the original settings for these kinds of works. The known findspots for representations of the Anadyomene can be grouped into four contexts: Graves, Sanctuaries, Baths and Fountains, and Houses. Small objects might have been seen, handled, and used daily that carried connotations and meanings which these ancient viewers would have brought to other more elite or public works.

Dissertation

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Mann, Joel Eryn Dean-Jones Lesley Hankinson R. J. "Of science, skepticism and sophistry the pseudo-Hippocratic On the art in its philosophical context /." 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1780/mannd36190.pdf.

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HUANG, LING-XI, and 黃令皙. "Junior High School Art AppreciationCurriculum and Teaching Research--A Case Study of Greek and Roman Mythological Painting." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/y38eqm.

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碩士
國立臺灣師範大學
美術學系
104
The purpose of this study was to investigate the effects of a course in visual art appreciation with Greek and Roman mythology. In accordance with the purpose of research, using action research, inquiry teaching strategy and qualitative research method to study student's experience and suggestion of the ability of visual art appreciation. Totally 85 junior high students from three class in New Taipei city participated in the study. They were randomly assigned to heuristic and control groups. 28 students were in the heuristic group, whereas 57 students were in the control group. The instruction lasted for eight weeks and there were one class per week. The students in both groups were tested by exam of visual art appreciation and questionnaire survey to understand the difference of their art critical ability, visual art appreciation and art attitude before and after received different treatments.The results showed that: a. Art criticism ability, content description ability, formal analysis ability, and value evaluation ability of students were significantly affected by art appreciation instruction; b. The ability to recognize western art style were significantly affected by art appreciation instruction; c. The qualitative analysis indicated that: 1. Students were interested by art appreciation instruction; 2. Students thought that they could learn the art criticism techniques from the instruction 3. Students thought “content description” was the easiest part, whereas “formal analysis” and “value evaluation” were the most difficult parts. Based on above findings, the suggestions to art appreciation instruction and future research were proposed.

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Mann, Joel Eryn. "Of science, skepticism and sophistry : the pseudo-hippocratic On the art in its philosophical context /." Thesis, 2005. http://www.lib.utexas.edu/etd/d/2005/mannd36190/mannd36190.pdf#page=3.

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Kohoutová, Aneta. "Zobrazení Homérovy Odysseie v antickém výtvarném umění." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358062.

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This thesis discusses depictions of stories from Homer's Odyssey to ancient art. The thesis is divided into ten chapters. The first chapter is devoted to Homer and the Odyssey, where closely acquainted with Homer's perception of the person and his iconography, as well as a focus on the importance and value of his literary work. In the second chapter I try bringing different perspectives of researchers on locations of Odysseus's journey, which also briefly introduces Odysseu's stops in connection with the story. The following chapters focus on individual stories and becoming familiar with their iconography in connection with the literary pattern. I realize the extent to which individual scenes were shown from the perspective of chronological and geographical, eventually on what types of artistic monuments (vase painting, reliefs and sculpture, murals, mosaics, etc.). Together I am trying to explain the reasons for eventual higher frequency of certain themes. Keywords Homer, Odysseus, iconography, Greek Art, Etruscan Art, Roman Art

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Taylor, Craig. "The design and uses of bath-house palaestrae in Roman North Africa." Phd thesis, 2009. http://hdl.handle.net/10048/459.

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The topic of this thesis is the palaestrae of Roman Africa. Although many examples of palaestrae have been found in North Africa, there has never been a study solely focused on these facilities. They have usually been considered only in the context of Roman baths and as features of bath buildings. This thesis examines palaestrae in a new light and analyzes their role as athletic facilities within the sporting culture of Roman Africa. The Roman provinces of North Africa have yielded a particularly rich body of evidence for athletic games and festivals, making this region ideal for studying this topic. The concern of the thesis is twofold. The first issue is the design and construction of palaestrae in Roman Africa. There is discussion of their form, of construction techniques, and of their place in the overall design of baths. The second issue is how their form relates to function. There is a discussion of how palaestrae accommodated athletic activities, such as training and competition. The thesis concludes that palaestrae in Roman Africa were an important part of local athletic culture, used for training and possibly for competition. Greek and Roman models influenced their design, but climate played a significant role. Great effort was made to ensure these buildings were kept cool, not only by placing them in less exposed areas but also by insulating them from the heated rooms of the baths. Local resources and building techniques were important factors in their construction. This thesis includes a gazetteer of palaestra sites in Roman Africa and a catalogue of all inscriptions relevant to the use of palaestrae.
Classical Archaeology

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FERRAZZA, ELEONORA. "Horai, Charites e Ninfe nell’arte greca e romana:casi di studio sulla trasmissione di modelli figurativi." Doctoral thesis, 2010. http://hdl.handle.net/11573/916819.

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La ricerca, che si presenta come rappresentativa delle Horai, delle Charites e delle Ninfe nei confini geografici del mondo classico, ha un taglio comparativo per una precisa finalità. I citati gruppi femminili, infatti, sono presi come casi di studio nell’ottica della continuità tra il mondo greco e il mondo romano, sul piano artistico in senso lato, attraverso la trasmissione dei modelli figurativi nel caso specifico. La nostra analisi inizierà con una selezione di fonti letterarie utili a chiarire le identità di Horai, Charites e Ninfe per poi riconoscerle sul piano figurativo (cap. 1). Il commento sarà completato da tabelle sui nomi e sul numero dei componenti dei tre gruppi in esame. Seguirà la documentazione epigrafica, con relativa tabella sintetica, che fornisce per Horai, Charites e Ninfe informazioni su nomi, epiteti e associazioni nel culto con altre divinità, o associazioni tra questi stessi gruppi (cap. 2). La parte centrale del lavoro è costituita dall’esame dei documenti figurativi attinenti ai gruppi in questione, tra l’età greca arcaica e l’età imperiale romana (cap. 3). Ciò implica delle scelte tra le identificazioni possibili. Abbiamo basato, dunque, le attribuzioni sia su dediche e didascalie iscritte, sia su analogie di iconografia tra i reperti anepigrafi (3.1). Dopo una rassegna di circa 150 reperti commentati singolarmente (3.2) e riuniti in una tabella sintetica a fine lavoro, l’analisi critica prenderà le mosse dai reperti con iscrizioni. Sono stati isolati, infatti, i documenti che associano testo e immagine, perché possano fare da guida per l’identificazione delle nostre figure, laddove l’indizio epigrafico viene meno (3.3). Contemporaneamente questa analisi permetterà di verificare quanto le iscrizioni siano affidabili per l’identificazione dei soggetti. Alla luce di queste evidenze si passerà all’analisi iconografica, in cui l’insieme delle attestazioni si trova ripartito in raffigurazioni delle Horai, delle Charites, delle Ninfe (3.4). Qui saranno illustrati gli schemi individuati, che a loro volta contribuiscono alla ricostruzione di serie iconografiche pertinenti i diversi gruppi e allo stesso tempo evidenziano le corrispondenze o le diversità tra i modelli figurativi degli stessi.

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

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