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This volume brings together the proceedings of an international and interdisciplinary symposium held at Budapest between 8th and 10th May 2014. It was the first event dealing exclusively with the temple of Zeus at Olympia, which was, at the time of its construction, the largest temple in mainland Greece, and which has remained the largest ancient building of the Peloponnese ever since. Contributors come from eight countries, namely Austria, France, Germany, Greece, Hungary, Italy, Japan, and the UK, and from several different fields of classical studies, including archaeology, ancient history, numismatics, epigraphy and architecture. The contributions deal with widely different aspects of the building and its sculptural decoration, including masons’ marks, metrology, the usage of different marbles, and depictions of invisible gods, and approach these issues from new and unique perspectives. Some papers focus on the cult of Zeus, or on inscriptions found in or on coins associated with the sanctuary; others describe how later authors might have used the monument, or bridge the gap between classical studies and the latest digital technologies applied to archaeology and cultural heritage. As such, all of the essays gathered here will inspire classical scholars to make use of these new research paths.
This book highlights the diversity of current methodologies in Classical Archaeology. It includes papers about archaeology and art history, museum objects and fieldwork data, texts and material culture, archaeological theory and historiography, and technical and literary analysis, across Classical Antiquity.
"Olympia was among the most important sites in the ancient Mediterranean world, not only because of its famous athletic games, but also because of its religious sanctuary, oracle, and political importance. Its games attracted 45,000-50,000 people to the site, who came to watch male athletes compete for everlasting glory. The winners were entitled to erect bronze statues of themselves in the Altis, the most sacred area of the site, where they stood among images of gods and heroes. Cities and rulers triumphant on the battlefield trumpeted their successes with sculpted monuments at this sacred site. Rulers and kings, Greek and Roman, visited Olympia, competed in the games, bestowed monuments on it, and took others away as booty. Everyone who was anyone in antiquity had to leave their mark at Olympia, and the monuments they left behind were not placed haphazardly but engaged in dialogue with each other. A Cultural History of Olympia explores the development of the site from the construction of its first monumental building c. 600 B.C. to its transformation into a Christian site in the fourth century A.D. Organized chronologically, and focusing on themes such as warfare, marriage, and exemplary conduct, this study traces how the site changed, how monuments interacted with each other, and what this place and its monuments meant to ancient patrons and visitors. This is the first holistic view of the site and one that offers the latest research with beautiful illustrations in a manner accessible to all readers"--
This book began to take shape following a conference on the Statue of Zeus at Olympia held at the University of Queensland in July 2008. In line with the main themes of the conference, the book has two fundamental aims: the first is to recognise the unsurpassed reputation of the Zeus in antiquity, to move beyond the framework provided by the Seven Wonders of the Ancient World, and to treat the famous statue in depth, as befits its unique importance in ancient times; the second aim is to employ a variety of interdisciplinary perspectives in the hope of capturing more accurately than before something of that unique importance. The book is aimed at academic specialists in a variety of disciplines (such as art, archaeology, history, literature, and cultural poetics), though it is also intended to be accessible to undergraduates and certainly to research students. The audience will primarily be one interested in classical antiquity, but there are chapters which trace the story and influence of the Zeus through the Byzantine, Renaissance, and early modern periods, and into more recent centuries in both the northern and southern hemispheres.
Elis examines the city of Elis from its earliest history, through the Archaic period and the Classical period where it reached its zenith, to its decline in the Hellenistic, Roman and later periods. Through examining this prominent city-state, its role in contemporary politics and the place of Olympia in its territory, Graeme Bourke allows the reader to explore broader issues, such as the relationship between the Spartans and their various allies, often collectively referred to as ‘the Peloponnesian League’, the connection between political structures and Panhellenic sanctuaries, and the network of relationships between various ancient sanctuaries throughout the Greek-speaking world. The volume, which makes available in English for the first time much of the debate about the city, provides a valuable resource for students and academics studying the city of Elis, the Peloponnese and the relationships within it, and pre-Hellenistic Greece as a whole.
The Handbook of Greek Sculpture aims to provide a detailed examination of current research and directions in the field. Bringing together an international cast of contributors from Greece, Italy, France, Great Britain, Germany, and the United States, the volume incorporates new areas of research, such as the sculptures of Messene and Macedonia, sculpture in Roman Greece, and the contribution of Greek sculptors in Rome, as well as important aspects of Greek sculpture like techniques and patronage. The written sources (literary and epigraphical) are explored in dedicated chapters, as are function and iconography and the reception of Greek sculpture in modern Europe. Inspired by recent exhibitions on Lysippos and Praxiteles, the book also revisits the style and the personal contributions of the great masters.
This volume is the first monograph in English dedicated to the study of the Greek mythical hero Pelops. While popular in antiquity, Pelops’ popularity has since faded; this book presents a comprehensive treatment of his character and legacy. Ancient tradition held that Pelops was the son of Tantalus and the ancestor of the Atreids, Agamemnon and Menelaos, who appear in the Homeric poems as leaders of the Greek forces against Troy. After arriving in Greece from the east, Pelops was eventually worshipped in Olympia, became the eponym of the Peloponnese, and was celebrated as one of the founders of the Olympic Games. However, his character is morally problematic, his family were heavily condemned, and few tales about Pelops exist. Patay-Horváth takes an interdisciplinary approach to the study of this obscure figure, presenting and analyzing written sources and depictions of Pelops, the etymology of his name, the history of his mythical family, and the afterlife of his myths. Drawing on folklore and ethnography, art and archaeology, linguistics and geography, this volume provides a detailed and accessible overview of both old and new theories about Pelops, his descendants, and his legacy. Transformations of Pelops is suitable for students and scholars of ancient Greek history and mythology, classical philology, and archaeology.
Scholars, military men, and casual observers alike have devoted significant energy to understanding how the armies of the Roman Middle Republic (300 – 100 BCE) were able to function so effectively, examining their organization, hierarchy, recruitment, tactics, and ideology in close detail. But what about the concerns, interests, and goals of the soldiers who powered it? The present study argues that the military forces of the Middle Republic were not simply cogs in the Roman military machine, but rather dynamic and diverse social units that played a key role in shaping an ever-changing Mediterranean world. Indeed, the soldiers in the armies of this period not only developed connections with one another, but also formed bonds with non-military personnel who traveled with as well as inhabitants of the places where they campaigned. The connections soldiers developed while on campaign gave them significant power and agency as a group. Throughout the third and second centuries BCE, soldiers took collective actions, ranging from mutiny to defection to looting, to ensure that their economic, social, and political interests were advanced and protected. Recognizing the communities that Roman soldiers formed and the power that they exerted not only reframes our understanding of the Middle Republic and its armies, but fundamentally alters how we conceptualize the turbulent years of the Late Republic and the massive social, political, and military changes that followed.
SUNDAY TIMES BESTSELLER • From the award-winning historian and broadcaster comes an immersive, awe-inspiring tour of the ancient sites that kindle our imagination and afford us a glimpse into our shared history “This fascinating book is brimming with stories of people and places, all told with Bettany’s natural sense of wonder and adventure.” —Simon Sebag Montefiore, New York Times bestselling author of The World For millennia, the Seven Wonders of the Ancient World have been known for their aesthetic sublimity, ingenious engineering, and sheer, audacious magnitude: The Great Pyramids of Giza, the Hanging Gardens of Babylon, the Temple of Artemis, the Statue of Zeus, the Mausoleum of Halikarnassos, the Colossus of Rhodes, and the Lighthouse at Alexandria. Echoing down time, each of these persists in our imagination as an emblem of the glory of antiquity, but beneath the familiar images is a surprising, revelatory history. Guiding us through it is historian Bettany Hughes, who has traveled to each of the sites to uncover the latest archaeological discoveries and bring these monuments and the distinct cultures that built them back to breathtaking life. Spellbinding, richly illustrated, and full of insight, The Seven Wonders of the Ancient World is a journey into the indomitable ambition and creativity of the human spirit.
The remains of ancient Mediterranean art and architecture that have survived over the centuries present the modern viewer with images of white, the color of the stone often used for sculpture. Antiquarian debates and recent scholarship, however, have challenged this aspect of ancient sculpture. There is now a consensus that sculpture produced in the ancient Mediterranean world, as well as art objects in other media, were, in fact, polychromatic. Color has consequently become one of the most important issues in the study of classical art. Jennifer Stager's landmark book makes a vital contribution to this discussion. Analyzing the dyes, pigments, stones, earth, and metals found in ancient art works, along with the language that writers in antiquity used to describe color, she examines the traces of color in a variety of media. Stager also discusses the significance of a reception history that has emphasized whiteness, revealing how ancient artistic practice and ancient philosophies of color significantly influenced one another.