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Phoenicians, Cypriots and Euboeans in the Northern Aegean
Full text linkThis paper discusses the Phoenician presence in the Northern Aegean basin, as suggested by the ancientGreek authors, in the light of new archaeological discoveries from the area. It examines the few Cypriot,Phoenician and Phoenician-style objects, which were either imported or locally produced in the far northof the Aegean during the late 8th - early 7th c. B.C. This paper views them as reverberations of the activePhoenician commercial and manufacturing involvement in the southern Aegean. Moreover, an emphasisis placed on the role that Cyprus possibly played as a link between Phoenicia and the Aegean. The natureand volume of goods from the Eastern Mediterranean discovered in the Northern Aegean points towardsmixed cargo ships. It also indicates a Greek (Euboean)-Phoenician cooperation rather than a direct linkwith the Levantine coast, although a small number of Phoenician craftsmen could have been resident inthe Northern Aegean. It is argued that it’s possible to outline different patterns of interaction betweenEastern Mediterranean people and Greeks (Euboeans) in the Thermaic Gulf and with local Thracians eastof river Strymon
Before Mimesis. Reflections on the Early Greek Technologies of Looking
Full text linkΠριν από την μίμησιν: σκέψεις για τις πρώιμες ελληνικές τεχνολογίες της όρασηςΤο άρθρο αναλύει την έννοια της εμπρόθετης υλικότητας, την ιδέα δηλαδή ότι τα άψυχα αντικείμενα – τα «πράγματα» – έχουν την ιδιότητα να διαδρούν με τους κατασκευαστές, τους χρήστες και τους θεατές τους. Αν και στο ουμανιστικό πλαίσιο εντός του οποίου συλλαμβάνουμε, παραδοσιακά, τις έννοιες του πολιτισμού, της τέχνης, της δημιουργίας, και της επικοινωνίας, η σκέψη ότι άψυχα αντικείμενα (τα οποία εννοούμε να βλέπουμε και να βιώνουμε ως «τέχνεργα») εκδηλώνουν πρωτογενείς πρωτοβουλίες μοιάζει εξωπραγματική, ανορθολογική και παράλογη, η πρόσφατη αρχαιολογική έρευνα, κινούμενη προς μια σαφώς μετα-ουμανιστική κατεύθυνση, αντιλαμβάνεται πλέον τα άψυχα πράγματα που μας περιβάλλουν ως εμπρόθετους δράστες. Στο άρθρο, μια σειρά από παραδείγματα επιλεγμένα από την πρώιμη ελληνική ιστορία αναλύονται υπό το πρίσμα της διάδρασής τους με τον κόσμο των ζωντανών. Με βάση ανθρωπολογικές προσεγγίσεις στις έννοιες της υλικότητας (materiality), της εμπρόθετης δράσης (agency), και της προσωποθεσίας (personhood), αναλύονται οι αρχαιοελληνικές τεχνολογίες της αναπαράστασης, και επισημαίνεται ο κοινωνικός ρόλος της ιστορικοτεχνικής κατασκευής (που παραδοσιακά προσλαμβάνουμε ως τεχνοτροπική ιδιοσυγκρασία ή «στιλ») στην πρώιμη ελληνική τέχνη.Material agency has been puzzling archaeologists for almost three decades now. The idea that artifacts, a priori perceived as passive and inert ‘creations’ subject to human volition, have the capacity to interact with their makers, users, or viewers may be seen as a challenge to archaeologists and their inherently humanist discipline. Classical archaeology, and the study of Greek and Roman art in particular, seem to have been avoiding the issue, choosing instead to privilege artistic agency or – in more recent years – a cultural-historical discourse primarily informed through linguistics and sociology. This paper explores the concepts of materiality, agency, and personhood as cultural mediators in order to investigate the ways Greeks interacted with the images they created. Through a number of case studies borrowed from the wider repertoire of early Greek ‘art’ it is argued that artifacts are invariably conceived as animate entities, at least in early Greece; moreover, that technologies of representation in early Greek art (what art historians understand as ‘styles’) are devised and promoted as cultural agents within Greek society
Sherds from around the Church: Pottery from the Panayia Church at Chonika, Argolis
Full text linkLately, attention has been drawn to the glazed pottery of the two main Argolic centers, Argos and Nauplio. However, our knowledge of the material culture of the rest of Argolis remains seriously limited. This paper aims to narrow that gap by examining the unpublished pottery dating from as early as the 10th century right up to the 19th, found in the area around the Byzantine church of Chonika
Chalkidice. The religious topography of the region during antiquity
Full text linkΧαλκιδική. Η θρησκευτική τοπογραφία της περιοχής κατά την αρχαιότηταΣτόχος αυτού του άρθρου είναι η συλλογή και ερμηνεία μαρτυριών για τα ιερά της Χαλκιδικής, περιοχής με πολυσυλλεκτικό πληθυσμό. Η μελέτη βασίστηκε σε αρχαίες πηγές και στα πορίσματα της παλαιότερης και νεότερης αρχαιολογικής έρευνας, χωρίς χρονολογικό περιορισμό, όπως ισχύει για τη μελέτη των λατρειών κάθε περιοχής. Σημαντικά ιερά, όπως του Ποσειδώνα στο Ποσείδι, του Διονύσου και των Νυμφών και αργότερα του Άμμωνα Δία στην Άφυτι, ο ναός αυτοκρατορικής λατρείας στα Καλίνδοια της Βοττικής, το ιερό της Άρτεμης στη Σάνη της Παλλήνης και του Απόλλωνος-Ηλίου στην Ουρανούπολη αποκαλύφθηκαν κατά τη διάρκεια ανασκαφικής έρευνας, ενώ άλλα ιχνηλατούνται με βάση τις πληροφορίες της αρχαίας ελληνικής γραμματείας και επιγραφών. Παρουσιάζονται και σχολιάζονται επίσης κινητά ευρήματα, ως επί το πλείστον επιγραφές και γλυπτά, από θέσεις ιερών ή που μπορεί να συσχετιστούν με αυτές. Στο πλαίσιο αυτό συνδυάζονται κυρίως επιγραφικές μαρτυρίες που παρέχουν θρησκευτικού χαρακτήρα πληροφορίες με τους σύγχρονους χώρους εύρεσής τους. Σκοπός είναι να δοθεί μία όσο το δυνατό πληρέστερη εικόνα της θρησκευτικής ταυτότητας της περιοχής.The collection and interpretation of information about the sanctuaries of Chalkidice during antiquity, which comprise the aims of this study, are based on the sources as well as the results of previous and recent archaeological research, without hard-and-fast chronological limits. The most important sites-cities of Chalkidice, where different populations lived, are discussed in light of historical course and development wherever this is possible. A number of important sanctuaries including those of Poseidon at Poseidi and Potidaea, of Dionysus and the Nymphs and later, Zeus Ammon at Aphytis, the imperial cult building complex at Kalindoia in Bottike, the sanctuary of Artemis at Sane in Pallene, and that of Apollo-Helios at Ouranopolis, were discovered during excavations, while others are attested in the ancient sources and inscriptions. We offer a presentation and commentary on portable finds, most of which are inscriptions and sculpture from sanctuary sites or which can be associated with such sites. We also endeavour to correlate ancient sites/cities with (primarily) epigraphic evidence coming from modern settlements/locations and providing religious information. We thus attempt to offer a comprehensive and diachronic assessment of the religious identity of Chalkidice
Βιώνοντας τον δημόσιο χώρο στην αρχαία Ελλάδα (6ος-1ος αι. π.Χ.). Δρόμοι, πλατείες και ελεύθεροι ανοιχτοί χώροι στις πόλεις, τα ιερά και τα νεκροταφεία
Full text linkUp to date the archaeological research has mainly focused on the structured environment, while the significant to ancient public life, open air free spaces, have been largely neglected. These spaces were consciously created or left as such, within ancient cities, sanctuaries and cemeteries. A public space operates dynamically in three dimensions and it is shaped both by the architectural structures that surround it and by natural or artificial landmarks, but also by the people themselves who use and “experience” it in everyday life or in specific circumstances. Spaces within the anthropogenic environment, roads (urban, sacred, funerary), squares and open air free spaces, in varying forms and sizes, jointly by the structures (temples, shrines, graves etc) and performances (processions, sacrifices etc) which they are associated with, constitute places of collective memory and identity. Spaces that correspond to the aforementioned parameters are examined in the research project entitled “Experiencing the public space in ancient Greece (6th-1st c. B.C.) Roads, squares and open air free spaces in cities, sanctuaries and cemeteries” funded by the O.P. “Human Resources Development, Education and Lifelong Learning”, co-funded by the European Social Fund (E.S.F.). A summary of the project’s aims, methodology, research questions and selected case studies is here presented
An Overview on Ancient Quarries of Southeastern Attica. The Ancient Quarries of Hymettus Revisited
Full text linkBased upon the information about the quarries of southeastern Attica presented in Kokkorou-Alevras et al. (2014), the research group of the National and Kapodistrian University of Athens has tried to throw light on the quarrying activity, that took place in these quarries during the antiquity and to update, to a certain degree, the data from past publications. New investigations were conducted in areas where ancient quarries had been located in the past (e.g. in Rhamnous, Marathon, Brauron, etc.) and important knowledge has been added about the quarrying activity of that region in antiquity. Our research focused on the Hymmetus marble quarries and was based upon both a new systematic investigation of the ancient quarry-faces on mount Hymettus and a search for possible unknown and smaller quarries on the mountain. Our work led us to a re-evaluation of the attested quarry-marks and the quarrying techniques on the extensive working-faces, as well as to a better understanding of the actual scale of the extraction and thus to a re-estimation of the bulk of the extracted blocks. Furthermore, we came to new conclusions about the scale of stone extraction during the Archaic period, judging from the distinctive technical features observed on the quarried rock
Μία λανθάνουσα χαλκογραφία του Γύζη. Συμβολή στη μελέτη της ελληνικής χαρακτικής του ΙΘ αι.
No full textKnown by his painting and drawings, Nikolas Gyzis (1842–1901) also engaged in prints. Α latent etching by Gyzis has been included as a photogravure in a monograph devoted to his works. The print was published in 1902 in a series of monographs for artists, edited by the painter and art historian Hermann Knackfuß (1848–1915) for the publishing house Velhagen & Klasing based in Bielefeld and Leipzig. Worked as an etching, the copper plate may be dated ca. 1899, if we accept that it depicts the young son of the painter Telemachos. Srtangely enough, this etching did not appear in later publications on Gyzis. Is it possible that both its copper plate and any etchings produced from it were lost, left lying in the home of the painter and his two daughters in Munich during World War II?Known by his painting and drawings, Nikolas Gyzis (1842–1901) also engaged in prints. Α latent etching by Gyzis has been included as a photogravure in a monograph devoted to his works. The print was published in 1902 in a series of monographs for artists, edited by the painter and art historian Hermann Knackfuß (1848–1915) for the publishing house Velhagen & Klasing based in Bielefeld and Leipzig. Worked as an etching, the copper plate may be dated ca. 1899, if we accept that it depicts the young son of the painter Telemachos. Srtangely enough, this etching did not appear in later publications on Gyzis. Is it possible that both its copper plate and any etchings produced from it were lost, left lying in the home of the painter and his two daughters in Munich during World War II
An archaeobotanical study of Alepotrypa Cave
Full text linkThis presentation is centred in the study of the few samples of archaeobotanical material which have beenstudied from the Neolithic Cave site of Alepotrypa in 1980. There is a need to incorporate this materialin the up-to-date archaeobotanical debate, which has come to light in Alepotrypa itself, as seen in therecent monograph (Margaritis 2018), but, further, a dialogue which would include the Peloponnese butalso beyond it
Το Πανεπιστήμιο Αθηνών και ο πόλεμος του 1940-1941: Η ζωή και ο θάνατος του καθηγητή Ξενοφώντος Κο- ντιάδη (Μασσαλία 1903 - Ιωάννινα 1941)
No full textΑυτό το άρθρο είναι απόπειρα απόδοσης φόρου τιμής στο έργο και τη μνήμη του καθηγητή Χειρουργικής Προπαιδευτικής και Χειρουργικής Παθολογίας του Πανεπιστημίου Αθηνών, Ξενοφώντος Ι. Κοντιάδη, πεσόντος κατά τον β´ παγκόσμιο πόλεμο κατά την εκτέλεση του πατριωτικού και του επιστημονικού του καθήκοντος. Γεννήθηκε μεγάλωσε και σπούδασε στη Γαλλία. Είχε αρχίσει ήδη εκεί μια πολλά υποσχόμενη σταδιοδρομία ως χειρουργός, πριν έρθει στην Ελλάδα το 1935.Τον Ιούνιο του 1940 έγινε καθηγητής στο Πανεπιστήμιο Αθηνών, λίγο πριν το ξέσπασμα του πολέμου. Παρότι επιστρατεύτηκε αμέσως ως αξιωματικός του υγειονομικού σώματος, ζητούσε επίμονα να υπηρετήσει την πατρίδα του στο μέτωπο. Τον Ιανουάριο του 1941 μετατέθηκε στο 2ο Στρατιωτικό Νοσοκομείο Ιωαννίνων, πολύ κοντά στα πεδία των μαχών. Όταν οι Ναζί πλησίαζαν στην πόλη τον Απρίλιο του 1941, αρνήθηκε να εγκαταλείψει τους τραυματίες στρατιώτες για να σωθεί, όπως και πολλοί άλλοι από το προσωπικό του νοσοκομείου. Συνέχιζε να χειρουργεί κατά τον εναέριο βομβαρδισμό της πόλης, στις 20 Απριλίου 1941, όταν τρεις βόμβες που στόχευσαν το νοσοκομείο σκότωσαν αυτόν και το άλλο προσωπικό που βρισκόταν στο χειρουργείο. ABSTRACTThis article is an attempt to pay tribute to the memory of Xenophon J. Kontiades (Marseille 1903 - Ioannina 1941), Professor of Surgical Pathology of the University of Athens, who was killed during World War II, performing his patriotic and scientific duty. He was born, grew up and studied sciences and medicine in France. He had already begun a very promising career abroad as a surgeon, before moving to Greece in 1935.He became a professor of Surgery at the University of Athens in June 1940, just before the outbreak of World War II. Although he was immediately called up as a medical officer, he also persistently sought to serve his country at the front line. In January 1941 he was transferred to 2nd Military Hospital of Ioannina, very close to the battlefield. When the Nazis were about to invade the city, in April 1941, himself and the other doctors and nurses of the hospital, refused to abandon the wounded soldiers and run for their lives. When Ionnina was bombarded, on April 20th, he was still operating the wounded, till three bombs, aimed the hospital, killed him and the other staff in the operating-room
Dionysius of Alicarnassus on the pleasant and the beautiful - Traces of Platonic influence
Full text linkΣτο έργο του Περί συνθέσεως ονομάτων ο Διονύσιος Αλικαρνασσεύς ισχυρίζεται ότι η επιτυχημένη σύνθεση πρέπει να επιδιώκει πάντοτε να κατακτήσει δύο απολύτως διακριτούς μεταξύ τους στόχους: τὴν ἡδονήν και τὸ καλόν. Παρά την κεντρική θέση, όμως, που έχει αυτή η διάκριση στη θεωρία του για την επιτυχημένη σύνθεση, ο Διονύσιος δεν καταφέρνει να την υποστηρίξει και να την εξηγήσει ικανοποιητικά και πειστικά ούτε με τις θεωρητικές του προσεγγίσεις ούτε με τα παραδείγματα που προσκομίζει. Τίθεται, επομένως, το ερώτημα πού στηρίζει αυτή τη βασική και σταθερή πεποίθησή του ο Διονύσιος. Στο άρθρο αυτό θα υποστηρίξω την άποψη ότι η συγκεκριμένη θέση του μπορεί να ερμηνευτεί ως δείγμα πλατωνικής επίδρασης. Αυτό που δεν καταφέρνει να εξηγήσει με σαφήνεια ο Διονύσιος εξηγείται, πιστεύω, σε ικανοποιητικό βαθμό από την πλατωνική θεωρία που φαίνεται ότι είχε κατά νου.ABSTRACTThe distinction between the pleasant and the beautiful is a basic one in Dionysius On Literary Composition. Despite the great importance of his distinction, however, he does not manage to substantiate it in a clear and direct way. My main argument is based on this observation that Dionysius basic distinction between a pleasant and a beautiful style is not persuasively supported either by his theoretical considerations or by his examples. This means that the question where he grounds his conviction about the validity of his distinction is open. I interpret this conviction as a sign of deep Platonic influence. I will try to show that what Dionysius does not manage to explain clearly is explained to a certain extent by the Platonic theory he seems to have in mind