Städtische Kulte im hellenistischen Gymnasion

Aneziri, Sophia; Damaskos, Dimitrios

doi:10.1524/9783050047249.247

Cited by 2 publications

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“…93 See Lowenstam (1997); Snodgrass (1998); Small (2003) 8-36. 94 Louvre G 146, ARV² 458.2; Lowenstam (1997) 39-44.…”

Section: C) Vase Painting In the Greek West And Tragedymentioning

confidence: 99%

“…93 It is rarely acknowledged, however, that the fifth century tragic poet was operating in a similar manner. 94 As Hunter and Rutherford note, 'the song-culture of Athens might seem to have been relatively autochthonous and to have remained generally independent of the mobility of the rest of the Greek world'. 95 My study argues that accounts of the travels of tragic poets also need to be seen in the light of this general culture of wandering.…”

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confidence: 99%

“…Montiglio (2000) and ( 2005) 91-116 addresses the question of the peripatetic sage as part of a general discussion on wandering in antiquity. 94 An important exception is Bremer (1991). 58-63 also acknowledges the existence of 'ancient constructions of the "wandering poet"' in the biographies of the tragedians.…”

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confidence: 99%

“…One example is an early fifth century Attic painting of the abduction of Briseis from the tent of Achilles. 94 Here it is Agamemenon who is taking hold of his concubine, rather than the heralds Talthybius and Eurybates who perform this service in the Iliad (1.318-49). It seems then that even the Iliad and the Odyssey were long in circulation before they made a noticeable impact upon the visual culture.…”

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confidence: 99%

“…was a stranger-poet from Lydia and not a native Spartan. 94 This seems to have been based on Alcman's own poetry, where the poet possibly referred to his Lydian background in order to demonstrate his urbanity or sophistication.…”

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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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“…93 See Lowenstam (1997); Snodgrass (1998); Small (2003) 8-36. 94 Louvre G 146, ARV² 458.2; Lowenstam (1997) 39-44.…”

Section: C) Vase Painting In the Greek West And Tragedymentioning

confidence: 99%

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confidence: 99%

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confidence: 99%

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Greek Tragedy on the Move

Stewart¹

2017

Oxford Scholarship Online

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Les Muses de Larissa : une nouvelle inscription votive thessalienne d’époque hellénistique sur la fondation d’un sanctuaire

Santin¹,

Tziafalias²

2020

bch

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Cet article est la première édition d'une épigramme votive gravée sur l'une des pièces majeures du Musée diachronique de Larissa, une stèle à relief remployée pour servir de chapiteau à l'époque byzantine où l'on voit neuf Muses faire cortège autour d'une divinité placée dans une grotte qui pourrait être identifiée avec Apollon. L'inscription et le relief sont incomplets et posent quelques difficultés d'interprétation. Nous avançons des hypothèses de reconstitution du texte, complétées par un premier commentaire iconographique, et essayons de replacer cet objet dans son ancien contexte monumental, archéologique, culturel et religieux : une dédicace du peuple aux Piérides semble être liée à la fondation d'un culte des Muses à Larissa par un citoyen riche qui, en échange de sa générosité, espère pouvoir obtenir une prêtrise. περίληψη Οι Μούσες της Λάρισας: μια νέα θεσσαλική αφιερωματική επιγραφή της Ελληνιστικής περιόδου στα θεμέλια ενός ιερούΑυτό το άρθρο αποτελεί την πρώτη δημοσίευση ενός αφιερωματικού επιγράμματος λαξευμένου σε έναν από τους μεγαλύτερους λίθους που εκτίθενται στο Διαχρονικό Μουσείο Λάρισας. Πρόκειται για μια ανάγλυφη στήλη η οποία επαναχρησιμοποιήθηκε ως κιονόκρανο κατά τη Βυζαντινή περίοδο. Απεικονίζονται εννέα Μούσες που περιβάλλουν μια θεϊκή μορφή μέσα σε μια σπηλιά, πιθανώς τον Απόλλωνα. Η επιγραφή και το ανάγλυφο σώζονται αποσπασματικά και παρουσιάζουν ορισμένες δυσκολίες στην ερμηνεία τους. Σε αυτό το άρθρο, προχωρούμε τις υποθέσεις αποκατάστασης του κειμένου, οι οποίες συμπληρώνονται από ένα πρώτο εικονογραφικό σχόλιο και επιχειρούμε να επανατοποθετήσουμε αυτό το αντικείμενο στο αρχαίο του μνημειακό, αρχαιολογικό, πολιτισμικό και θρησκευτικό πλαίσιο: το αφιέρωμα του λαού στις Πιερίδες φαίνεται πως συνδέεται με την εγκαθίδρυση μιας λατρείας των Μουσών στη Λάρισα από έναν πλούσιο πολίτη ο οποίος, σε αντάλλαγμα της γενναιοδωρίας του, ελπίζει πως θα μπορέσει να λάβει το αξίωμα του ιερέα. summaRyThe Muses of Larissa: a new Thessalian votive inscription from the Hellenistic period on the foundation of a sanctuary This paper is the first publication of a votive epigram inscribed on one of the most important objects stored in the Diachronic Museum of Larissa, a relief stele reused as a capital during the Byzantine era. The sculpture portrays the nine Muses surrounding a divinity placed within a cave, who could be identified with Apollo. The inscription and the relief are incomplete, which causes some difficulties with the interpretation. We present some possible reconstructions of the text, and a preliminary iconographic commentary, attempting to replace this object in its monumental, archaeological, cultural and religious context: a dedication of the people to the Pierids seems to be linked to the foundation of a cult of the Muses in Larissa by a wealthy citizen who, in exchange for his generosity, hopes to obtain a priesthood.

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Städtische Kulte im hellenistischen Gymnasion

Cited by 2 publications

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Greek Tragedy on the Move

Greek Tragedy on the Move

Les Muses de Larissa : une nouvelle inscription votive thessalienne d’époque hellénistique sur la fondation d’un sanctuaire

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