<i>Agon</i>

Aneziri, Sophia

doi:10.1002/9781444338386.wbeah09014

Cited by 3 publications

(10 citation statements)

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“…74 It was even possible for a man to compete both as an athlete and as a poet. 75 While athletes sometimes acted as their patrons, poets saw athletics as merely an equal or inferior profession to their own. Xenophanes (fr.2.11-12 West) certainly believed that as a poet he was more deserving of praise and financial rewards than athletes.…”

Section: Poetsmentioning

confidence: 99%

“…1764 (Holwerda p.241). 75 A red figure pelice from around 430 BC (Plovdiv 1812), depicting a victorious citharode or citharist, lists victories including ones at Nemea and Isthmia. Power (2010) 491 suggests that these may be athletic victories.…”

Section: Poetsmentioning

confidence: 99%

“…Hamilcar, the Carthaginian general, was killed by the Syracusan cavalry as he was about to sacrifice to Poseidon. 75 There may have been a link made between the fates of Glaucus and Hamilcar, both of which involved horses. And if the speaker of 25a has come from Sicily to Boeotia, he must in all likelihood be a god.…”

Section: E) Other Plays: a Persian Trilogy?mentioning

confidence: 99%

“…Furthermore, the dress of the Erinyes in these vases, short knee-length chitons, is quite extraordinary for women, yet corresponds closely to the description given by Orestes in the Libation Bearers. 75 We appear, then, to have a number of vases dated to after the production of the Oresteia showing a change in the iconography that can be linked to Aeschylus. 76 Although these vases do not display an obvious theatricality, they nonetheless fulfil all of the other criteria we established in the previous section for assessing the influence of tragedy on a given piece.…”

mentioning

confidence: 99%

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Greek Tragedy on the Move

Stewart¹

2017

Oxford Scholarship Online

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This work is one of the first full studies of the dissemination of Greek tragedy in the archaic and classical periods. Drawing on recent research in network theory, it seeks to reinterpret classical tragedy as a Panhellenic art form. It thereby offers a radically new perspective on the interpretation of the extant tragic texts, which have often been seen as the product of the fifth-century Athenian democracy. Tragedy grew out of, and became part of, a common Greek (or Panhellenic) culture, which was itself sustained by frequent travel and exchange. This book shows how Athens was a major Panhellenic centre within a wider and, by the fifth century, well-established network of festivals and patrons. The part played by non-Athenians in the festival culture of Attica is fully reassessed and it is estimated that as much as a quarter of all tragic poets who produced plays in Athens during the classical period were non-citizens. In addition, the book re-examines the evidence for tragedies that were probably or certainly performed outside Athens and shows how and why they were calculated to appeal to a broad Panhellenic audience. The stories they contained were themselves tales of travel. Together the works of the tragedians told and reworked the history of the Greek peoples and showed how they were connected through the wanderings of their ancestors. Tragedy, like the poets and their creations, was meant to travel and this is the first full study of tragedy on the move in the archaic and classical periods.

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Section: Poetsmentioning

confidence: 99%

Section: Poetsmentioning

confidence: 99%

Section: E) Other Plays: a Persian Trilogy?mentioning

confidence: 99%

mentioning

confidence: 99%

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Greek Tragedy on the Move

Stewart¹

2017

Oxford Scholarship Online

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“…Two collections published in the last quarter of the twentieth century focus on Roman youth associations (Jaczynowska 1978) and leadership in occupational collegia in Italy (Royden 1988). More recent collections have also focused on particular types of associations, such as Dionysiac associations (Aneziri 2003;Jaccottet 2003) and Roman associations of textile dealers (Liu 2009;Labarre and Le Dinahet 1996). Despite these very helpful resources, many thousands of epigraphic and papyri association texts remain widely distributed across corpora, journals, and books.…”

Section: Resourcing the Way Forwardmentioning

confidence: 99%

What Are They Now Saying about Christ Groups and Associations?

Ascough

2015

Currents in Biblical Research

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Over the past decade and a half a considerable number of scholarly books and articles have addressed directly the relationship between associations and early Christ groups. Some, albeit not all, of the Pauline communities have been subjected to thorough investigation, while preliminary studies have been undertaken with the Gospels, Acts, and other early Christian writings. The majority of scholarly works leave little doubt regarding the relevance of the associations for understanding the organizational and ideological predilections of the early Christ groups. In their structure and organization Christ groups look and sound like associations. Thus, it no longer makes sense to construe the investigation, as has so often been the case in past scholarship, as focusing on three separate and distinct categories such as 'synagogues, churches, and associations'. A review of the data available and the trends in recent scholarship is suggestive for new and fruitful avenues of exploration that dismantle such falsely constructed categorical boundaries.

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Teos Antik Kenti ve Dionysos Sanatçılar Birliği

Güler¹

2015

Ankara Üniversitesi Dil Ve Tarih-Coğrafya Fakültesi Tarih Bölümü Tarih Araştırmaları Dergisi

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Teos, which was established in the most narrowed place of Urla isthmus extendig from north to south, is in the Sıgacık village of Seferihisar in Smyrna today. Teos has a significant place in both political and religious terms in ancient period. The city, where was settlement from Archaic period to Roman times, is one of the twelve Ion cities. Herodotos counted Teos between the Ion cities with Ephesos, Kolophon, Lebedos, Klazomenai and Phokaia and stated that these cities used a different language than the other Ion cities. 1 Teos, which is known as the city of God Dionysus, earned its reputation with the Union of Artists of Dionysus. Artists had many privileges owing to this union, even they had equal conditions with the city in political terms. Altough these political rights caused problems about the administration of Teos, the union contributed to city economically and provided protection of presence of the city until the mid-Roman period.

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Agon

Abstract: The contest ( agon ) is one of the main manifestations of the Greek way of life and expresses two basic constituents of the Greek spirit: competition and rivalry. It is interesting to note that, alongside Hermes Enagonios, Agon itself was personified and depicted in a statue at Olympia.

Cited by 3 publications

References 3 publications

Greek Tragedy on the Move

Greek Tragedy on the Move

What Are They Now Saying about Christ Groups and Associations?

Teos Antik Kenti ve Dionysos Sanatçılar Birliği

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