Dissertations / Theses on the topic 'Thebes (Greece) in art'
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Rockwell, Nicholas Ryan. "The Boeotian army the convergence of warfare, politics, society, and culture in the classical age of Greece /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1680034161&sid=14&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textEFKLEIDOU, KALLIOPI. "SLAVERY AND DEPENDENT PERSONNEL IN THE LINEAR B ARCHIVES OF MAINLAND GREECE." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1099923171.
Full textFurman, Michael Stephen. "Thebes, the Boeotian League, and central Greece : political and military development and interaction in the fourth century B.C." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12254.
Full textVollkommer, Rainer. "Herakles in the art of classical Greece." Oxford : Oxford University Committee for Archaeology, 1988. http://books.google.com/books?id=ur2fAAAAMAAJ.
Full textStumpf, Joseph A. "Tourism in Roman Greece /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3115593.
Full textBonga, Lily A. "Late Neolithic pottery from mainland Greece, ca. 5,300--4,300 B.C." Thesis, Temple University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564797.
Full textThe Late Neolithic (defined here as the LN I of Sampson1993 and Coleman 1992) is both the culmination and the turning point of Greek Neolithic culture from the preceding phases. It lasts some 1,000 years, from approximately 5,300 to 4,300 B.C. The ceramic repertoire of the Late Neolithic period in Greece is a tremendously diverse body of material. Alongside this diversity, other aspects of the ceramic assemblage, such as Matt-painted and Black-burnished pottery, share broad similarities throughout regions, constituting a " koine." The commanlities, however, are most apparent during the earlier part of the Late Neolithic (LN Ia); in the later phase (LN Ib) phase, more regional variations proliferate than before.
In the Late Neolithic, all categories of pottery—monochrome, decorated, and undecorated—are at their technological and stylistic acme in comparison with earlier periods. While some of the pottery types demonstrate unbroken continuity and development from the preceding Early and Middle Neolithic phases, new specialized shapes and painting techniques are embraced.
For the first time in the Neolithic, shapes appear that are typically thought of by archaeologists as being for food processing (strainers and "cheese-pots"), cooking (tripod cooking pots and baking pans), and storing (pithoi ). More recent research, however, has demonstrated that these "utilitarian" vessels were more often than not used for purposes other than their hypothesized function. These new "utilitarian" vessels were to dominate the next and last phase of the Neolithic, the Final Neolithic (also called the Chalcolithic, Eneolithic, or LN II) when painted pottery disappears from most Greek assemblages just before the beginning of the Bronze Age.
During the past two decades, there has been much research into Late Neolithic Greece, particularly in Northern Greece (Macedonia). This dissertation incorporates the most up-to-date information from these recent excavations with the older material from sites in Thessaly, Central Greece, and Southern Greece. Since this study draws solely upon published material, both old and new, there are certain limitations to the type of analysis that can be performed. The approach, then, is more of an art-historical and historiographical overview than a rigorous archaeological analysis. It provides an overview of the major classes of pottery (decorated, monochrome, and undecorated) and their primary shapes, motifs, and technological aspects. While it emphasizes commonalities, regional and chronological variations are also highlighted. The technological means of production of vessels, their use, circulation, and deposition are also considered.
The structure of this paper is that each pottery chapter is devoted to a broad class (such as Matt-painted), which is broadly defined and then more closely examined at the regional level for chronological and stylistic variations. Likewise, a sub-section then discusses the technology of a particular class and its regional and or chronological similarities and differences. When necessary, outdated scholarship is addressed and rectified.
Spier, Jeffrey Bryan. "Minor arts and regional styles in East Greece, 700-500 B.C." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:76ecad5c-367b-4ea2-9f5d-ec248ddd1b31.
Full textLoughlin, Eleanor. "Representations of the cow and calf in Minoan art." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/9790.
Full textTanner, Jeremy James. "The invention of art history : religion, society and artistic differentiation in ancient Greece." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296707.
Full textBonga, Lily Alexandra. "Late Neolithic Pottery from Mainland Greece, ca. 5,300-4,300 B.C." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236215.
Full textPh.D.
The Late Neolithic (defined here as the LN I of Sampson 1993 and Coleman 1992) is both the culmination and the turning point of Greek Neolithic culture from the preceding phases. It lasts some 1,000 years, from approximately 5,300 to 4,300 B.C. The ceramic repertoire of the Late Neolithic period in Greece is a tremendously diverse body of material. Alongside this diversity, other aspects of the ceramic assemblage, such as Matt-painted and Black-burnished pottery, share broad similarities throughout regions, constituting a "koine." The commonalities, however, are most apparent during the earlier part of the Late Neolithic (LN Ia); in the later phase (LN Ib) phase, more regional variations proliferate than before. In the Late Neolithic, all categories of pottery--monochrome, decorated, and undecorated--are at their technological and stylistic acme in comparison with earlier periods. While some of the pottery types demonstrate unbroken continuity and development from the preceding Early and Middle Neolithic phases, new specialized shapes and painting techniques are embraced. For the first time in the Neolithic, shapes appear that are typically thought of by archaeologists as being for food processing (strainers and "cheese-pots"), cooking (tripod cooking pots and baking pans), and storing (pithoi). More recent research, however, has demonstrated that these "utilitarian" vessels were more often than not used for purposes other than their hypothesized function. These new "utilitarian" vessels were to dominate the next and last phase of the Neolithic, the Final Neolithic (also called the Chalcolithic, Eneolithic, or LN II) when painted pottery disappears from most Greek assemblages just before the beginning of the Bronze Age. During the past two decades, there has been much research into Late Neolithic Greece, particularly in Northern Greece (Macedonia). This dissertation incorporates the most up-to-date information from these recent excavations with the older material from sites in Thessaly, Central Greece, and Southern Greece. Since this study draws solely upon published material, both old and new, there are certain limitations to the type of analysis that can be performed. The approach, then, is more of an art-historical and historiographical overview than a rigorous archaeological analysis. It provides an overview of the major classes of pottery (decorated, monochrome, and undecorated) and their primary shapes, motifs, and technological aspects. While it emphasizes commonalities, regional and chronological variations are also highlighted. The technological means of production of vessels, their use, circulation, and deposition are also considered. The structure of this paper is that each pottery chapter is devoted to a broad class (such as Matt-painted), which is broadly defined and then more closely examined at the regional level for chronological and stylistic variations. Likewise, a sub-section then discusses the technology of a particular class and its regional and or chronological similarities and differences. When necessary, outdated scholarship is addressed and rectified.
Temple University--Theses
Pilavaki, Stella. "Recording and interpreting a rock art complex situated in Northern Greece : a tripartite approach." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336208/.
Full textVerdon, Tatiana Sol. "Scientific Analysis and Technical Study of Three Ancient Egyptian Royal Textiles from the Tomb of Hatnofer and Ramose, Western Thebes, New Kingdom, Dynasty 18, 1550-1295 B.C." Thesis, Fashion Institute of Technology, SUNY, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10937091.
Full textAn Egyptian archaeological textile, accessioned in the American Museum of Natural History (AMNH) (Cat.No. 95/2444), from the Tomb of Hatnofer and Ramose, Eighteenth Dynasty (1550-1295 B.C.), Western Thebes was studied, with two textiles (Cat.Nos. 95/2443 and 95/2445) from the same tomb used as comparanda. The textile’s finely spun fibers, plain-weave balanced structure with selvedge fringes and lower edge fringes, and with various weavers’ marks, stains, and losses, provide invaluable historical data about finely woven, royal linens of Eighteenth Dynasty Egypt.
Scientific analysis used for this study include: visual annotations, polarized light microscopy (PLM), scanning electron microscopy (SEM) including fiber diameter measurements, and carbon-14 dating. Closely examining a textile and its fibers can provide information about the condition of the textile, linen quality, weaving techniques, and the life of the textile itself. While the linen fibers in the Study Textile (Cat.No. 95/2444) and the Comparanda Textile #1 (Cat.No.95/2443) have been identified, it is still uncertain whether or not the fibers in the Comparanda Textile #2 (Cat.No.95/2445) are of a different quality linen or of a different plant material which is very similar to linen within the bast fiber family. Further studies would be required to answer this and several other questions that remain.
Kontomichali, Margarita Yon Marguerite. "La bijouterie à Chypre aux époques chypro-géométrique et chypro-archaïque." Lyon : Université Lumière Lyon 2, 2002. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2002/kontomichali_m_notice.
Full textMasek, Brooke Heather. "'Kalos thanatos': The ideology and iconography of the Demosion Sema at Athens in the 5th and 4th centuries BCE." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11288.
Full textThe Demosion Sema ["Public Tomb"] was an area of the Kerameikos in Athens that in the 5th and 4th centuries BCE functioned as the state burial ground--the repository of mass graves for those who had lost their lives in war. In an annual ritual known as the patrios nomos ["the ancestral custom"], the war-dead were eulogized and publicly mourned. Their mass graves [ polyandria ] were regularly marked by marble monuments with reliefs of soldiers in combat, under which the names of the dead were listed according to their tribe, but without demotic or patronymic information. This thesis explores the various aspects of the patrios nomos and the iconography of the funerary monuments of the state burial ground. By analyzing features of the ritual, such as the attendant funeral orations ( epitaphios logos ), and aspects of the imagery found in the polyandria , we are able to learn not only about the function of the Demosion Sema within the Athenian polis but also how Athenians mourned and remembered their war-dead within the context of a democratic ideology.
Committee in charge: Jeffrey M. Hurwit, Chairperson; James Harper, Member; Christopher Eckerman, Member
De, Moor Iziko. "The griffin in the art of the Near East, Egypt & Greece down to c. 550 B.C." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670240.
Full textPahl, Brenton. "From Ancient Greece to Surrealism: The Changing Faces of the Minotaur." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511613466777073.
Full textYoka, Lia. "The Artist, 1910-1912, 1914 : a modern Greek art journal; sincerity as an aspect of the culture of intellectuals." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365026.
Full textKontomichali, Margarita. "La bijouterie à Chypre aux époques chypro-géométrique et chypro-archai͏̈que." Lyon 2, 2002. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2002/kontomichali_m_notice.
Full textJewelry made of metal or other materials holds an important place in the archaeological finds in Cyprus during the 1st half of the Iron Age. So far, Cypriot jewelry did not have the attention that other antiquities such as pottery or sculpture had. Because of its numerical superiority and variety we feel obliged to deeply investigate it and give it all the importance. Moreover, through this material we can collect useful information of the commercial, social and cultural relationships between Cyprus and the important areas of Eastern Mediterranean. The historical context of this research extends from the beginnings of the 1st millennium B. C. Until the end of the Cypro-Archaic period. The recorded inventory of jewels emanates out of three contexts: funerary offerings, ex-voto (offerings in temenos) and some items, which belong to museums or private collections. In the present study we mainly examine the history and the evolution of the categories and the models of the jewels. Furthermore, we also observe the progress of each type and form through the centuries and the possible phases of the development and decadence of the production. Also to be taken into consideration are the forms, the models and the motifs, which are frequent in the areas of Eastern Mediterranean. The materials used for the production and the decoration of the jewels is of particular interest. As we can find rare materials, such as precious or semi-precious stones which are brought in the island through commercial contacts. In order to complete this study is also necessary to investigate the techniques and the methods of the manufacture and the decoration. The above is useful for those who want to perceive the variety of the methods and to appreciate the ability and the equipment of the ancient craftsmen. Other part of this research is referred to the rich repertory of iconographic motifs, which decorate some jewels. Finally we discover that some designs have a symbolism and a protective value relevant to the beliefs and the particular rituals
Schizas, Nicholas. "A theological study of the frescoes painted by Spyridon Papaloukas in the cathedral of Amfissa." Thesis, University of Wales Trinity Saint David, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683253.
Full textKilker, Laurie A. "Dining like Divinities: Evidence for Ritual and Marital Dining by Women in Ancient Greece." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1229092295.
Full textLawton, Carol L. "Attic document reliefs : art and politics in ancient Athens /." Oxford : Clarendon Press, 1995. http://www.perseus.tufts.edu/cgi-bin/ptext?doc=1999.04.0005.
Full textBrisart, Thomas. "Un art citoyen: recherches sur l'orientalisation des artisanats en Grèce proto-archaïque." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210339.
Full textLe développement de la citoyenneté en Grèce à partir de la seconde moitié du VIIIe siècle avant J.-C. a donné lieu à une extension du pouvoir politique et militaire à une part plus importante de la population des cités. La propagation de ce qui constituait autrefois les principaux modes de reconnaissance a amené les élites à développer de nouvelles façons de se distinguer dans le paysage social. Dans un même temps, les citoyens de chaque cité ont développé des institutions communales, telles que les cultes civiques et les repas en commun, afin d'unifier le groupe qu'ils formaient et de renforcer le fossé qui séparait celui-ci du reste de la société. Le travail de contextualisation entrepris dans cette thèse a montré que l'art orientalisant constituait un outil facilitant la mise en place de ces deux évolutions.
D'une part, parce qu'ils faisaient explicitement allusion aux cultures du Proche-Orient, dont les richesses exerçaient une réelle fascination sur les Grecs de cette époque, les objets orientalisants permettaient de rehausser le prestige de leurs propriétaires. Autrement dit, ils constituaient des modes de reconnaissance sociale particulièrement efficaces. De nombreuses données archéologiques et textuelles ont permis de confirmer ce point de vue, mettant en évidence que les objets orientalisants étaient utilisés lors de banquets prestigieux, comme offrandes ostentatoires aux dieux et aux morts, ou encore pour contenir de précieux parfums.
D'autre part, en tant qu'esthétique nouvelle, complètement libérée des formes géométriques utilisées durant les siècles précédents, l'art orientalisant figurait également au rang des pratiques censées unifier la citoyenneté. Cette seconde conclusion a été mise en évidence au travers de l'étude du cas de la Crète, où, au VIIe siècle, l'art orientalisant a en grande partie été utilisé dans le cadre d'institutions civiques :les banquets publics, les cultes civiques, et les guerres.
This dissertation aims at the understanding of the reasons lying behind the orientalization of artefacts in Greece during the so-called "Orientalizing period" (i.e. the 7th cent. BC). In order to achieve this goal, the author focused on archaeological contexts and textual information. They allowed him to replace the orientalizing objects back in their original social context and to understand their initial purposes.
The birth of the citizenship in Greece at the end of the 8th cent. BC gave rise to the extension of the political and military power to a wider part of the population. This created a need for the former elite to develop other means of social distinction. Conversely, the communities of citizens developed communal institutions, like civic cults, communal dinners, etc. meant to cement and to level the group, and to reinforce the gulf that separated it from the rest of the society. This thesis showed that orientalizing art contributed to the setting up of these changes.
On one hand, because Greek orientalizing artefacts explicitly alluded to Near Eastern cultures, that were indeed perceived as being particularly rich at that time by the Greeks, they could enhance the individual prestige of the people using them. Archaeological research confirmed this hypothesis, showing that Greek orientalizing objects were used during conspicuous banquets, as lavish offerings for the dead and the gods, and for containing precious perfumes.
On the other hand, as artefacts decorated in a new style, completely freed from the geometric aesthetics displayed in the previous centuries, orientalizing objects also figured among the practices developed for strengthening the citizens’ corps. This second conclusion was reached through the study-case of Crete, where orientalizing art of the 7th cent. seems nearly exclusively used in a context of civic institutions :public banquets, civic cults and festivals, and wars.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Ross, Iain Alexander. "The New Hellenism : Oscar Wilde and ancient Greece." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:574a4841-5fb9-4b1f-bd09-6965c9ecef1c.
Full textServadei, Cristina. "La figura di Theseus nella ceramica attica : iconografia e iconologia del mito nell'Atene arcaica e classica /." Bologna : Ante Quem, 2005. http://catalogue.bnf.fr/ark:/12148/cb40201611c.
Full textLa p. de titre porte en plus : "Alma mater studiorum, Università di Bologna, Dipartimento di archeologia" Bibliogr. p. 217-234.
Xanthoudaki, Maria. "Museum and gallery educational programmes in England and Greece : content, structure and contribution to art education in primary schools." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360683.
Full textAntoniadou, Alexandra. "Realisations of performance in contemporary Greek art." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31283.
Full textPapadopoulos, Theokritos. "The aesthetics of waste : investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6470/.
Full textSiepman, Halle Diane. "Tilted." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1755.
Full textEgli, Franziska. "Euripides im Kontext zeitgenössischer intellektueller Strömungen : Analyse der Funktion philosophischer Themen in den Tragödien und Fragmenten /." München ; Leipzig : K. G. Saur, 2003. http://catalogue.bnf.fr/ark:/12148/cb392330291.
Full textJones, 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.
Full textJones, Oliver M. "The Matters of Troy and Thebes and Their Role in a Critique of Courtly Life in Chaucer and the Gawain-Poet." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc279137/.
Full textKellaris, Georgios. "The iconography of sanctuary doors from Patmos and its place in the iconographic program of the Byzantine iconostasis." Thesis, McGill University, 1991. http://books.google.com/books?id=4OjVAAAAMAAJ.
Full textContains an English abstract and a French résumé. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 83-87).
Alvarez, Isabelle. "Étude sur l’évolution du thème des oiseaux de nuit dans la Grèce ancienne, médiévale et moderne." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040157.
Full textThis study has distinguished variations in the theme of nocturnal birds in Ancient, Medieval and Modern Greece, as well as presented an explanation within the historical, socio-cultural, and religious contexts. For the Ancient Greek timeframe, in an effort to outline symbolism, an inventory of nocturnal birds mentioned in zoological texts was created whereby the mention of such birds in literature, history, mythology, and art was also accounted for. The same approach was employed for the Medieval Greek timeframe. The study first focused on the revisions made to the main characteristics of these birds within the Judeo-Christian mindset, as opposed to Ancient Greece. These changes were not only adopted, but reinforced by other texts such as the Physiologos and many Bestiaries. The study then focused on the medico-magical traits of these nocturnal birds as outlined in the Cyranides, which contrasts with the Poulologos’ satire of Byzantine society by the intermediary of the birds’ behavior and biting remarks. Lastly, for the Modern Greek timeframe, the study explored the importance of nocturnal birds in folk songs, proverbs, fables, short stories, poems and youth literature. Further, the study outlined the birds’ privileged place in art, artisanal work, signs and emblems, postage stamps, and money. This diachronic study aimed to catalog the different bird species and to evaluate the role that they played in the development of the Greek line of thought through the centuries. It was also the study’s goal to ultimately establish—or not—the continuity of the symbolism as it relates to the time-specific conditions of each era
Criado, Cecilia. "La teología de la Tebaida Estaciana el anti-virgilianismo de un clasicista /." Hildesheim : Georg Olms Verlag, 2000. http://catalog.hathitrust.org/api/volumes/oclc/43944306.html.
Full textBarley, N. D. "The battlefield role of the Classical Greek general." Thesis, Swansea University, 2012. https://cronfa.swan.ac.uk/Record/cronfa43080.
Full textMihaloew, 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.
Full textThe Classics
Xu, Jialin. "Techniques of red-figure vase-painting in late sixth- and early fifth-century Athens." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670015.
Full textOlivier, Anette. "Social status of elite women of the New Kingdom of ancient Egypt a comparison of artistic features /." Thesis, Pretoria : UNISA, 2008. http://etd.unisa.ac.za/ETD-db/theses/available/etd-09262008-134009/unrestricted/dissertation.pdf.
Full textStrahm, Melissa Marie. "Epicurean Friendship: How are Friends Pleasurable?" unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-07152009-110815/.
Full textTitle from file title page. Timothy O'Keefe, committee chair; Andrew I. Cohen, Sandra Dwyer, Andrew Altman, committee members. Description based on contents viewed Feb. 11, 2010. Includes bibliographical references (p. 61-62).
Tzima, Sofia. "ZYGOS : une revue d'art en Grèce (1955-1966)." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAG030.
Full textThe object of this thesis is to study the discourse of the Greek art journal Zygos (“Balance”) and its role in the reception and promotion of art mouvements and ideological currents in Greece. The study of Zygos texts reveals the opposition “greekness – modernism” as the main theme of this journal’s discourse. Our main conclusion is that Zygos showed a moderate promotion of modernity, reconciliating modernism with a desire of a Greek particularity. We note the presence of a discourse on modern art conceived as an evolution from Cézanne to abstract art, through cubism. However, this review also expresses a discourse whose main points are measure, humanism and the affinities between the “French spirit” and the “Greek spirit”. Several authors of Zygos defend the necessity of an intermediate way for art between faithful imitation of nature and complete rupture with it
Posthumus, Liane. "Hybrid monsters in the Classical World : the nature and function of hybrid monsters in Greek mythology, literature and art." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6865.
Full textENGLISH ABSTRACT: The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of manhorse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity. In aid of this definition, attention is also given to themes that recur when considering monster beings. This provides a basis from which the hybrid monsters of ancient Greece, the centaur and Minotaur in particular, can be considered. The next section of the thesis looks into the attitudes to animals prevalent in ancient Greece. The cultural value of certain animal types and even certain body parts have to be taken account, and the degree to which these can be traced to the nature and actions of the hybrid monster has to be considered. The main argument is divided in two sections. The first deals with the centaur as challenger to Greek cultural taxonomy. The centaur serves as an eminent example of how human-animal hybrid monsters combine the familiar and the foreign, the Self and the Other into a single complex being. The nature of this monster is examined with special reference to the ways in which the centaur, as proponent of chaos and wilderness, stands in juxtaposition to the ideals of Greek civilisation. The second section consists of an enquiry into the purpose of the hybrid monster and considers the Minotaur’s role as a facilitator of transformation. The focus is directed towards the ritual function of monsters and the ways in which monsters aid change and renewal both in individuals and in communities. By considering the Theseus-myth and the role of the Minotaur in the coming-of-age of the Attic hero as well as the city of Athens itself, the ritual theory is given application in ancient Greece. The conclusion of this thesis is that hybrid monsters, as manifestations of the internal dichotomy of man and the tenuous relationship between order and chaos, played a critical role in the personal and communal definition of man in ancient Greece.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie tesis is om die sin van monsters te ondersoek deur te kyk na die verhouding wat bestaan tussen hierdie wesens en die gemeenskappe waarbinne hulle hul ontstaan het. Die tesis fokus spesifiek op die mens-dier hibriede monster in die mitologie, literatuur en kuns van antieke Griekeland. Dit probeer om tot ‘n slotsom te kom oor die bestaansrede van monsters deur te kyk na die aard van die man-perd monster. Hierdie wese se tweeledige samestelling – met betrekking tot beide sy interne en eksterne komposisie – het ‘n wesenlike bedreiging ingehou vir die kulturele taksonomie van die antieke Grieke. Die tesis kyk ook na die rol, van monsters in die konteks van rituele gebeure. Die mite van Theseus as ‘n mite met rituele verbintenisse, en die Minotaurus as hibriede monster, word dan oorweeg om te bepaal wat die ooreenstemming is met die verwagtinge wat daargestel is vir rituele monsters. Ten einde ‘n redelike definisie van monsteragtigheid daar te stel, begin die ondersoek deur oorweging te skenk aan die geskiedenis en die gebruike van die woord “monster”. Ter ondersteuning van hierdie definisie word daar ook aandag geskenk aan sekere temas wat herhaaldelik opduik wanneer monsters ter sprake kom. Dit skep ‘n basis vir die ondersoek na die hibriede monsters van antieke Griekeland, en meer spesifiek na die kentaurus en die Minotaurus. Die tesis oorweeg ook die houding van die antieke Griekse beskawing teenoor diere. Die kulturele waarde van sekere soorte diere, en selfs seker ledemate van diere, moet in ag geneem word wanneer die hibriede monsterfiguur behandel word. Aandag moet geskenk word aan die maniere waarop die assosiasies wat die Grieke met diere gehad het, oorgedra word na die aard en handelinge van die monsterfiguur. Die hoofargument van die tesis word in twee dele uiteengesit. Die eerste gedeelte behandel die kentaurus as uitdager van die kulturele taksonomie van die antieke Grieke. Die kentaurus dien as ‘n uitstekende voorbeeld van die manier waarop die mens-dier monster dit wat bekend is en dit wat vreemd is, die Self en die Ander, kombineer in een komplekse wese. Die aard van hierdie wese word ondersoek met spesifieke verwysing na die maniere waarop die kentaurus, as voorstander van die ongetemde en van chaos, in teenstelling staan teenoor die ideale van die Griekse beskawing. Die tweede gedeelte vors die doel van die hibriede monster na en oorweeg die Minotaurus se rol as bevorderaar van transformasie. Hier word gefokus op die rol van die monster in ’n rituele konteks en die maniere waarop monsters verandering en vernuwing teweegbring in enkelinge sowel as in gemeenskappe. Hierdie teorie word van toepassing gemaak op antieke Griekeland deur die mite van Theseus en die rol van die Minotaurus te oorweeg binne die konteks van die proses van inburgering wat beide die held en sy stad, Athene, ondergaan. Die gevolgtrekking van hierdie tesis is dat hibriede monsters, as uitbeeldings van die interne tweeledigheid van die mens sowel as van die tenger verband tussen orde en chaos in die wêreld, ‘n noodsaaklike rol gespeel het in die persoonlike en sosiale definisie van die individu in antieke Griekeland.
Bargue, Elisabeth Evangélie. "Passion(s) dans l'espace public : histoire des collectionneurs et des collections privées d'art contemporain en Grèce au XXe siècle." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010571.
Full textThis study aims to describe the history and situation of the private contemporary art collections in Greece du ring the last century. Despite the strong presence of the phenomenon, studies on this subject are scarce, especially in regard to the contemporary period, which is often neglected in favor of the Archeological and Byzantine period. However, the phenomenon of collecting contemporary art is very present in Greece and it is closely linked to the political and social history, to phenomenas such as benefaction, diaspora and the economic growth of the country, from the eighties upon entry into the European Economic Community. Thus, the appearance of the phenomenon is constantly changing. What is studied here is a first approach to the various aspects of collecting contemporary art in relation to the cultural history of the country, through the portraits of many iconic Greek collectors who lived in the twentieth century. These art lovers have strongly influenced the artistic and cultural landscape of their country of origin - but also sometimes to their home countries - through the discovery of artists and the influence of taste. The latter was achieved especially because their activity was related to the establishment of the permanent collections of fine art museums and private foundations
Guérin, Charles Chiron Pierre Lévy Carlos. "L'élaboration de la notion rhétorique de "persona" au Ier siècle av. J.-C. antécédents grecs et enjeux cicéroniens /." Créteil : Université de Paris-Val-de-Marne, 2007. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0253520.pdf.
Full textVon, Solms Charlayn Imogen. "Ingenuity's engine : an overview of the history and development of the concept of the muse." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/16468.
Full textENGLISH ABSTRACT: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Many metaphors relating to creativity are too misleading, confusing, and restricted in scope for a meaningful exploration of the phenomenon and its fluctuating social and cultural contexts. Given the Muse's long-term association with literature, philosophy, education, and more recently, the fine arts and other "creative" fields, an analysis of this concept may provide a unique opportunity to gain insight into the "mechanisms" underlying the creative process. Since affiliation with the Muse appears to have signalled attainment of critical cultural and/or social status by cultural practitioners in various societies, from the ancient to the present (a category which was broadened substantially), it is thus logical to assume this concept encompasses and has accumulated characteristics particular to the creative process as historically and currently valued in Western culture. Given the limited scope of the thesis, I have focused on specific concerns: 1) Provide an overview of the history, origin and development of the concept via specific examples ranging from antiquity, the medieval period, and the modern. 2) Assess the changes which have occurred in the development of the concept, and postulate likely causes: such as for example, the impact of an increased focus on the visual - and by extension, the physical - due to a more literate populace, on a concept originally conceived of as experienced through predominantly audial means. 3) Identify closely related concepts, the characteristics of which may have played a role in the formulation of the initial concept, along with those integrated into it, to form the modern version of the Muse: examples include the influence of the myth of Pygmalion on notions regarding the poet's relationship with both material and Muse; and the consequences of an amalgamation of characteristics of Aphrodite with those of the pastoral Muse. 4) Explore the extent to which the Muse-poet interaction can reveal fundamental aspects of the creative process and its main components: the differences between the public invocation and experience of the Muse in an oral context, as opposed to the privately experienced Muse of the literate poet; also, the changes imposed on the concept's perceived means of functioning due to its extension to the practice of the visual arts; and the correlation between the Jungian notion of the anima and aspects of the Muse. 5) Postulate the fundamental aspects of the creative process as revealed by analysis of the concept of the Muse for further investigation. In brief then, the main intention of this thesis is simply to examine by analysis of particular examples, the feasibility of applying the concept of the Muse as metaphor through which to identify for further exploration, issues and themes relating to the production and changes in social assessment of creative enterprises.
AFRIKAANSE OPSOMMING: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Menige metafore verbonde aan kreatiwiteit is te misleidend, verwarrend, of beperk in omvang vir 'n betekenisvolle ondersoek van díe verskynsel en die fluktueerende sosiale en kulturele kontekste daarvan. Gesien in die lig van die Muse se langtermyn assosiasie met letterkunde, filosofie, opvoedkunde en meer onlangs, the skone kunste en ander "kreatiewe" velde, mag 'n analise van die konsep moontlik 'n unieke geleentheid bied om insig te verkry in die onderliggende "meganismes" van die kreatiewe proses. Aangesien affiliasie met die Muse blyk om die bereiking van kritiese kulturele en/of sosiale status, deur kulturele praktisyne in verskeie samelewings, van die antieke tot die huidige ('n kategorie wat aansienlik uitgebou is) aan te dui, is dit dus logies om te aanvaar dat die konsep alomvattend is van eienskappe kenmerkend van die kreatiewe proses, soos geskiedkundig en huidig op prys gestel in die Westerse kultuur. Gegewe die beperkte bestek van die tesis, is gefokus op spesifieke kwessies: 1) Verskaf 'n oorsig van die geskiedenis, oorsprong, en ontwikkeling van die konsep deur spesifieke voorbeelde, in omvang vanaf die antieke, die middeleuse periode, en die moderne. 2) Evalueer die veranderinge wat voorgekom het in die ontwikkeling van die konsep, en veronderstel moontlike redes daarvoor: soos byvoorbeeld, die impak van vermeerderde fokus op die visuele - en daarby die fisiese - as gevolg van 'n meer geletterde bevolking, op 'n konsep wat aanvanklik hoofsaaklik ouditief ondervind is. 3) Identifiseer verwante konsepte, die eienskappe waarvan moontlik 'n rol kon gespeel het in die formulasie van die aanvanklike konsep, asook die wat daarby geintegreer is, om die moderne weergawe van die Muse te vorm: voorbeelde sluit in, die invloed van die mite van Pigmalion op begrippe aangaande die digter se verhouding met beide die materiaal en Muse; en die gevolge van 'n samesmelting van Aphrodite se karaktertrekke met die van die pastorale Muse. 4) Ondersoek die mate waartoe die Muse-digter verhouding fundamentele aspekte van die kreatiewe proses en sy hoof komponente kan ontbloot: soos die verskille tussen die publieke invokasie en ervaring van die Muse in 'n verbale konteks, in teenstelling met die geletterde digter wat die Muse privaat ondevind; asook die veranderinge temeegebring op die persepsies aangaande die konsep se funksionering as gevolg van die uitbreiding daarvan tot die visuele kunste; en die korrelasie tussen die Jungiaanse idee van die anima, en aspekte van die Muse. 5) Veronderstel die fundamentele aspekte van die kreatiewe proses, soos ontbloot deur analise van die konsep van die Muse vir verdere ondersoek. Kortliks dan, die hoof voorneme van hierdie tesis is om deur analise van spesifieke voorbeelde, die uitvoerbaarheid te ondersoek om die konsep van die Muse toe te pas as metafoor vir verdere navorsing waardeur kwessies en temas, aangaande die produksie en veranderinge in sosiale waardering van kreatiewe ondernemings, ge-identifiseer kan word.
Monopoli, Maria. "User-based evaluation of academic digital libraries : case studies, Social Science Information Gateway, Art, Design Architecture & Media Gateway and the Electronic Journals Service of the University of Patras, Greece." Thesis, City University London, 2005. http://openaccess.city.ac.uk/8440/.
Full textMueller-Goldingen, Christian. "Untersuchungen zu den Phönissen des Euripides." Stuttgart : F. Steiner Verlag, 1985. http://catalogue.bnf.fr/ark:/12148/cb348331258.
Full textVassiliou, Erma, and erma vassiliou@anu edu au. "The word order of Medieval Cypriot." La Trobe University. Communication, Arts and Critical Enquiry, 2002. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20080214.124104.
Full textNock, Emma L. "Make yourself at home : home and the pursuit of authenticity in the writing of Graham Greene." Thesis, Bangor University, 2006. https://research.bangor.ac.uk/portal/en/theses/make-yourself-at-home--home-and-the-pursuit-of-authenticity-in-the-writing-of-graham-greene(01b33c4a-ae40-4102-bc3c-a00bb59c966d).html.
Full textFiolitaki, Anastasia. "Archaistic elements in Greek art and architecture of the fourth century BC, with particular reference to works from Ionia and Caria." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/archaic-elements-in-greek-art-and-architecture-of-the-fourth-century-bc-with-particular-reference-to-works-from-ionia-and-caria(4bf12dd8-cbc1-41a0-8a3e-7daba058bf35).html.
Full textFries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art." University of Sydney, 2008. http://hdl.handle.net/2123/5709.
Full textThis Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.