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A severed head is found on the Greek border near a wall planned to stop Middle Eastern immigrants crossing from Turkey. Intelligence Agent Evangelos wants the truth about the murder, human trafficking into Greece, and about the corruption surrounding the wall's construction. It is a mystery novel and a political thriller but more importantly it evokes the problems of the West incarnated in Greece: isolationism, fear of immigration, economic collapse, and corruption. While dark, it is also poetic and paints an indelible portrait of Athens, with its mixed fragrances of eucalyptus, freshly baked bread, and cigarette smoke.
In this fully illustrated study, Rune Frederiksen assembles all sources for Archaic city walls in the ancient Greek world, and argues that widespread fortification of settlements and towns, usually considered to date from the Classical period, in fact took place much earlier.
A new reading of the portrayal of Greek myths in Roman art, revealing important shifts in Roman values and identities.
Henchmen of Ares is a new overview of warfare in ancient Greece from the Mycenaean Bronze Age down to the Persian Wars.
A comprehensive, authoritative account of the development Greek Art through the 1st millennium BC. An invaluable resource for scholars dealing with the art, material culture and history of the post-classical world Includes voices from such diverse fields as art history, classical studies, and archaeology and offers a diversity of views to the topic Features an innovative group of chapters dealing with the reception of Greek art from the Middle Ages to the present Includes chapters on Chronology and Topography, as well as Workshops and Technology Includes four major sections: Forms, Times and Places; Contacts and Colonies; Images and Meanings; Greek Art: Ancient to Antique
What ancient graffiti reveals about the everyday lives of Jews in the Greek and Roman world Few direct clues exist to the everyday lives and beliefs of ordinary Jews in antiquity. Prevailing perspectives on ancient Jewish life have been shaped largely by the voices of intellectual and social elites, preserved in the writings of Philo and Josephus and the rabbinic texts of the Mishnah and Talmud. Commissioned art, architecture, and formal inscriptions displayed on tombs and synagogues equally reflect the sensibilities of their influential patrons. The perspectives and sentiments of nonelite Jews, by contrast, have mostly disappeared from the historical record. Focusing on these forgotten Jews of antiquity, Writing on the Wall takes an unprecedented look at the vernacular inscriptions and drawings they left behind and sheds new light on the richness of their quotidian lives. Just like their neighbors throughout the eastern and southern Mediterranean, Mesopotamia, Arabia, and Egypt, ancient Jews scribbled and drew graffiti everyplace--in and around markets, hippodromes, theaters, pagan temples, open cliffs, sanctuaries, and even inside burial caves and synagogues. Karen Stern reveals what these markings tell us about the men and women who made them, people whose lives, beliefs, and behaviors eluded commemoration in grand literary and architectural works. Making compelling analogies with modern graffiti practices, she documents the overlooked connections between Jews and their neighbors, showing how popular Jewish practices of prayer, mortuary commemoration, commerce, and civic engagement regularly crossed ethnic and religious boundaries. Illustrated throughout with examples of ancient graffiti, Writing on the Wall provides a tantalizingly intimate glimpse into the cultural worlds of forgotten populations living at the crossroads of Judaism, Christianity, paganism, and earliest Islam.
Demonstrates how ancient Roman mural paintings stood at the intersection of contemporary social, ethical, and aesthetic concerns.
The 18th century's Neoclassicist movement - with its white marble sculptures - has helped Greek art to remain vivid in our memories even today. But, as author Michael Siebler points out, the reality of ancient Greek art is entirely different. This book throws light on some of the most important artists of the period.
"This volume is a groundbreaking discussion of the role of digital media in research on ancient painting, and a deep reflection on the effect of digital media in opening the field to new audiences. The study of classical art always oscillates between archaeology and classics, between the study of ancient texts and archaeological material. For this reason, it is often difficult to collect all the data, to have access to both types of information on an equal basis. The increasing development of digital collections and databases dedicated both to archaeological material and ancient texts is a direct response to this problem. The book's central theme is the role of the digital humanities, especially digital collections such as the "Digital Milliet", in the study of ancient Greek and Roman painting. Part one focuses on the transition between the original book version of the Recueil Milliet and its digital incarnation. Part two addresses the application of digital tools to the analysis of ancient art. Part three focuses on ancient wall painting. The book will be of interest to scholars working in art history, classics, archaeology, and digital humanities"--
The conference on which the present volume is based took place in Oxford in the summer of 2006. It brought together linguists, archaologists, epigraphists, numismatists and historians and allowed them to exchange ideas about a period of major transition in Karian history: the fourth century and the two centuries after Alexander. This was first a period of great starapal visibility and presence, but then alsol of intense civic engagement and increased political awareness among Karian communities. The symbiotic relationship between the islands of the Dodekanese, in particular Rhodes and Kos, and the coastal regions of Karia forms another major theme. Finally, a number of papers pick up on a major recent trend in the study of Anatolian culture, namely the investigation of cross-cultural Greeak-Anatolian interactions in the Late Bronze and Early Iron Ages and their echoes in later periods.