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Recognizing the traditional place held by the "Hekatompedon Inscription" (IG I3 4) in classical studies, this book presents evidence for the meaning of the inscription that comes from its facture, leading to the question of the origin of the stoikhedon style and of Egypt's role in that emergence.
Language and style of epigram is a topic scarcely discussed in the related bibliography. This edition aspires to fill the gap by offering an in-depth study of dialect, diction, and style in Greek literary and inscribed epigram in a collection of twenty-one contributions authored by international scholars. The authors explore the epigrammatic Kunstsprache and matters of dialectical variation, the interchange between poetic and colloquial vocabulary, the employment of hapax legomena, the formalistic uses of the epigrammatic discourse (meter, syntactical patterns, arrangement of words, riddles), the various categories of style in sepulchral, philosophical and pastoral contexts of literary epigrams, and the idiosyncratic diction of inscriptions. This is a book intended for classicists who want to review the connection between the stylistic features of epigram and its interpretation, as well as for scholars keen to understand how rhetoric and linguistics can be used as a heuristic tool for the study of literature.
This volume illustrates how the epigraphic habit is ubiquitous but variously expressed. Inscriptions become part of the fabric of Greek and Roman culture.
Ancient Documents and their Contexts contains the proceedings of the First North American Congress of Greek and Latin Epigraphy (San Antonio, Texas, 4-5 January 2011). It gathers seventeen papers presented by scholars from North America, Europe, and Australia at the first formal meeting of classical epigraphists sponsored by the American Society of Greek and Latin Epigraphy. Ranging from technical discussions of epigraphic formulae and palaeography to broad consideration of inscriptions as social documents and visual records, the topics and approaches represented reflect the variety of ways that Greek and Latin inscriptions are studied in North America today. Contributors are: Bradley J. Bitner, Sarah Bolmarcich, Ilaria Bultrighini, Patricia A. Butz, Werner Eck, John Friend, Peter Keegan, Jinyu Liu, Kevin McMahon, John Nicols, Nadya Popov-Reynolds, Carolynn E. Roncaglia, Stephen V. Tracy, Dennis E. Trout, Georgia Tsouvala, Steven L. Tuck, and Arden Williams.
The fourteen essays in this volume share new and evolving knowledge, theories, and observations about the city of Athens or the region of Attica. The contents include essays on topography, architecture, religion and cult, sculpture, ceramic studies, iconography, epigraphy, trade, and drama. This volume is dedicated to John McK. Camp II, to acknowledge the extraordinary impact he has had on the field of Greek archaeology through his work in the Athenian Agora, as a scholar of ancient Greece, and as Mellon Professor at the American School of Classical Studies. The contributors' work represents current research by the latest generation of scholars with ties to Athens. All of the contributors were students of Professor Camp in Greece, and their essays are dedicated to him in gratitude for his profound influence on their lives and careers.
This book has chapters on methodology, on the writing of the first decrees and laws of the years ca. 515 to 450 B.C., on unique examples of writing of ca. 450 to 400, on the inscribers of the Lapis Primus and Lapis Secundus (IG I3 259-280), and on those of the Attic Stelai (IG I3 421-430). These are followed by studies of 11 individual cutters arranged in chronological order. This study brings order to the study of hands of the fifth century by setting out a methodology and by discussing the attempts of others to identify hands. Another aim is to bring out the individuality of the writing of these early inscribers. It shows that from the beginning the writing on Athenian inscriptions on stone was very idiosyncratic, for all intents and purposes individual writing. It identifies the inscribing of the sacred inventories of Athena beginning about 450 B.C. as the genesis of the professional letter cutter in Athens and traces the trajectory of the profession. While the dating of many inscriptions will remain a matter for scholarly discussion, the present study narrows the dates of many texts. It also pinpoints the origin of the mistaken idea that three-bar sigma did not occur on public documents after the year 446 in order to make those who are not expert more aware that this is not a reliable means of dating.
This book reveals how 'marginal' aspects of Graeco-Roman art play a fundamental role in shaping and interrogating ancient and modern visual culture.
This first comprehensive study of pre-Archaic Greek temple architecture combines architecture, society, and material culture.
This edited volume explores the intermediality of image and text in Graeco-Roman sculpture. Through its choice of authors, disciplinary backgrounds are deliberately merged in order to bridge the traditional gap between archaeologists, epigraphists and philologists, who for a long time studied statues, material inscriptions and literary epigrams within the closely confined borders of their individual disciplines. Through its choice of objects, privileging works of which there are significant material remains, through its inclusion of all kinds of figural-cum-inscriptional designs, ranging from grand sculpture to reliefs and ‘decorative’ marble-objects, and through its methodological emphasis on ‘close viewing’ (and reading!) of individual objects, this volume focuses on the materiality of both sculpture and inscription. This perspective is enriched by two comparative chapters on inscribing Greek vases and Roman walls (graffiti). The intermediality of image and inscription is envisaged from various thematic angles, including the intricacies of combining image and epigram (both materially and in literary projection), the original production and reception of inscribed sculpture in its ‘long life’, the viewing and ‘reading’ of sculpture in a space of movement, the issue of (re-)naming statues, and the image and inscription in its social and gender-historical context.
The papers in this volume derive from the proceedings of the nineteenth International Bronze Congress, held at the Getty Center and Villa in October 2015 in connection with the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World. The study of large-scale ancient bronzes has long focused on aspects of technology and production. Analytical work of materials, processes, and techniques has significantly enriched our understanding of the medium. Most recently, the restoration history of bronzes has established itself as a distinct area of investigation. How does this scholarship bear on the understanding of bronzes within the wider history of ancient art? How do these technical data relate to our ideas of styles and development? How has the material itself affected ancient and modern perceptions of form, value, and status of works of art? www.getty.edu/publications/artistryinbronze