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Attraction, Aversion, and Aggression: Dynamics of Violence in Artistic Representations of Medusa
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Two Women and a Portrait (Standard)
No full texthttps://crossworks.holycross.edu/photographing_antiquity/1078/thumbnail.jp
Marks of Mystery (Creative)
No full textWhen I initially encountered my object, I was drawn into the mystery of what it was used for and the untold stories carved into the bottom. On the bottom of the object a small group of fine markings into the silver caught my attention. From a quick glance, the markings and symbols on this object did not tell a story, yet a closer glance reveals a lost, forgotten history. On the far left, a clover emblem with three K’s, likely a maker’s mark, hints at the skilled hands that once crafted it. On the far right, a crown with the letters “GR” suggests another layer of authorship, though its meaning is uncertain. In between both, the number “800” signals that the object is made of 800-grade silver. Most intriguing of all is the faintly carved date, barely visible to the naked eye: possibly 11/11/27. Although the exact meaning is unknown, the marks transform the object into a gateway to the past, inviting us to question multiple stories of its making and the lives it once touched.https://crossworks.holycross.edu/photographing_antiquity/1075/thumbnail.jp
Near Escape (Creative)
No full textWhy might one choose to try and break free? The monk surely has a good reason for his actions. The figure has noticeable cracks in each one of his legs. There is a clean break right through on the left ankle, almost like the monk yanked it away from the base of his foot. On the other leg, however, there is a split directly on his calf.
I used the same settings as my standard photographs on the camera because I believe it is best to let imagination run wild in this instance. The only thing I have changed here significantly is zooming in to highlight the fissure of the wood. I chose to highlight the monk’s legs with a view from behind since this allows for proper viewing of the fractures. What tumultuous history of this object brought about these unique imperfections? Are these two from the same moment, or did the monk make a near escape multiple times?https://crossworks.holycross.edu/photographing_antiquity/1072/thumbnail.jp
Enduring Blues (Standard)
No full texthttps://crossworks.holycross.edu/photographing_antiquity/1063/thumbnail.jp
Glimmer of Sunshine in a Field of Chrysanthemums (Standard)
No full texthttps://crossworks.holycross.edu/photographing_antiquity/1077/thumbnail.jp
Book VI of the Mathematical Collection of Pappus of Alexandria, translated by John B. Little
Full text linkBook VI of the Mathematical Collection is a collection of comments or notes about various points treated in parts of a collection of other texts sometimes known as the “Little Astronomy.” Pappus uses these works as sources and frequently quotes from them in this book. In the teaching of mathematical astronomy in late antiquity, and this would include the time of Pappus, the “Little Astronomy” is often understood to have been a follow-up to Euclid’s Elements and a preliminary to the study of the Almagest of Claudius Ptolemy (ca. 100–165 CE). The “Little Astronomy” included works by a group of Classical and Hellenistic authors including Autolycus of Pitane (ca. 360–290 BCE), Euclid of Alexandria (ca. 300 BCE), Aristarchus of Samos (ca. 310–230 BCE), Hypsicles (ca. 190–120 BCE), and Theodosius of Bithynia (ca. 160–100 BCE). Some of these were clearly what we would call elementary textbooks and Pappus’s Book VI seems to have been written as a sort of “guide for the perplexed” addressing subtle points that Pappus thought had not been treated sufficiently clearly or completely in those sources. In the introductory paragraph at the start, in fact, he says somewhat polemically, “many of those teaching astronomy, when they understand statements in a more careless way, include some things as necessary, while omitting others as unnecessary.”https://crossworks.holycross.edu/hc_books/1065/thumbnail.jp