The Perpetual Immigrant and the Limits of Athenian Democracy

Kasimis, Demetra

doi:10.1017/9781107280571

Cited by 59 publications

(15 citation statements)

References 154 publications

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“…Dissatisfaction with the concept and practice of citizenship is 18 (Kotef 2015) is excellent on this paradox. 19 (Kasimis 2018). I reference one of her more pointed insights into the heuristic value of the metic below.…”

Section: Definitions Of Citizenship: Binary and Bimodalmentioning

confidence: 99%

Citizenship’s Insular Cases, from Ancient Greece and Rome to Puerto Rico

Peralta

2019

Humanities

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Engaging equally with ancient Greco-Roman and contemporary Euro-American paradigms of citizenship, this essay argues that experiences of civic integration are structured around figurations of island and archipelago. In elaboration of this claim, I offer a transhistorical account of how institutions and imaginaries of citizenship take shape around an "insular scheme" whose defining characteristic is displacement. Shuttling from Homer and Livy to Imbolo Mbue and Danez Smith, I rely on the work of postcolonial literary critics and political theorists to map those repetitive deferrals of civic status to which immigrants and refugees in particular are uniquely subject. 1 See (Horden and Purcell 2000) for a classic exposition; cf. (Purcell 2016) for an update on the new thalassology and (Ceccarelli 2012, p.2) for comment on the disjuncture between the island as insular isolate and the island as high-interaction zone.

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Section: Definitions Of Citizenship: Binary and Bimodalmentioning

confidence: 99%

Citizenship’s Insular Cases, from Ancient Greece and Rome to Puerto Rico

Peralta

2019

Humanities

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“…The epigraphic record, both funerary inscriptions and "signatures" on pots themselves, tells us little about the lives of these workers. Furthermore, the ancient literary sources, so dismissive of the people who had to work with their bodies to earn a living, provide little detail about the experience of the low-status, often resident foreigner (metic) populations they derided (Dembin 2018;Hedreen 2016;Kamen 2013;Kasimis 2018;Kennedy 2014;Langdridge-Noti 2015). With the existing evidence so limited and freighted with censure, how can we begin to see the daily experience of the potters and painters from their own perspectives?…”

Section: Introductionmentioning

confidence: 99%

“…This paper seeks to "bring back the ancient bodies," but whose bodies? In addition to being disparaged as banausoi, a significant percentage of this population was identified as resident foreigners (metics) (Kamen 2013;Kasimis 2018;Kennedy 2014). As it was illegal for metics to earn a living through landowning as was the Athenian ideal, images of them at work, often in craft activities, circulate perhaps as a kind of advertisement between 540 and 460 BCE (Chatzedemetriou 2005;Lewis 2010).…”

Section: Introductionmentioning

confidence: 99%

Bringing Back the (Ancient) Bodies: The Potters’ Sensory Experiences and the Firing of Red, Black and Purple Greek Vases

Balachandran

2019

Arts

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The study of Athenian black-figure and red-figure ceramics is haunted by nearly a thousand "hands" of the artisans thought to be responsible for their painted images. But what of the bodies attached to those hands? Who were they? Given the limited archaeological and epigraphic evidence for these ancient makers, this study attempts to recover their physical bodies through the ceramics production process-specifically the firing of vessels-as a communal activity potentially including a large cast of participants including craftsmen and craftswomen, metics, freed people and slaves. Using an experimental archaeology approach, I argue that we can begin to approach the sensory experiences of ancient potters and painters as they produced all the colored surfaces (and not only images) that endure on Greek vases. I propose a four-stage sensory firing in combination with the three-stage chemical firing process known for the production of Athenian ceramics, suggesting that each stage-and the colors produced at each stage-had their own "sensory signatures." Examining extant vases with this awareness of the bodily experience of their ancient makers has the potential to bring back these ancient bodies, moving us beyond the limiting narrative of a single hand wielding a paint brush.which often assumes a single maker with a recognizable "hand." But what of the surfaces of Greek vases as a whole, the shades of red, black and purple that make the images and text legible and the whole bodies of the people who made them?This paper argues that we have not fully considered the surfaces that the ancient Greeks potters and painters made as evidence of these makers' skill and embodied experience. Moving beyond the painted line as the marker of a single craftsman at work, I look to the firing of Greek ceramics as the key moment in the communal production process, one in which all of the work involved in throwing and painting an easily mutable clay object literally crystallized into its durable and indelible final form. The firing was responsible for the production of the range of colors-the reds, oranges, shades of black and brown and also the purples-for which Greek vase painting is renowned. 1 These colors are iron compounds formed under specific temperature and environmental conditions and are chemically reproducible in an experimental archaeology approach. As will be described in this paper, such an approach to the firing of Athenian ceramics offers otherwise unknowable insights into the ancient production process. The firing is an intensely sensory experience, with specific senses heightened at different stages as different colors are being made on the vessels inside the kiln. The colored surfaces of vases therefore have not only a particular chemical, physical and artistic signature but also a "sensory signature." It is by considering these sensory cues that we may approach the bodies of ancient makers at work.As the Hellenistic poem "Kiln" 2 demonstrates, the firing was the stage most fraught with physical danger and the potential f...

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“…8.Kasimis (2018), 30. Bakker (2013), 179, discusses autochthony and the idea of ‘continuity of habitation and rule’ as the ‘most important item of Athenian political propaganda’.…”

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confidence: 99%

The Gift of Identity: (Re)presenting Autochthony in Classical Athens

Clements¹

2021

Ramus

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The Athenians of the fifth century BCE both created and were captivated by an unusual and memorable concept that provided citizens with an ancestry that was closely linked to the very earth they inhabited: autochthony. Although autochthony in classical Athens has been studied extensively, the methodology of viewing the myth as a representation of a ritual and performative act has not been widely considered. This paper reflects upon autochthony from the angle of its ceremonial (re)presentation, considering how iconography helped shape a concrete and specific understanding of Athenian civic identity, including familial ties with the gods and eponymous ancestors. By situating fifth-century visual representations in vase painting as the most effective conduit for what autochthony meant, we can better understand its power as a visual action that replicates a ritual gift.

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The Perpetual Immigrant and the Limits of Athenian Democracy

Cited by 59 publications

References 154 publications

Citizenship’s Insular Cases, from Ancient Greece and Rome to Puerto Rico

Citizenship’s Insular Cases, from Ancient Greece and Rome to Puerto Rico

Bringing Back the (Ancient) Bodies: The Potters’ Sensory Experiences and the Firing of Red, Black and Purple Greek Vases

The Gift of Identity: (Re)presenting Autochthony in Classical Athens

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