Constitutional Evolution in Ancient Athens

2021 ◽  
pp. 1-8
Author(s):  
George Tridimas
Author(s):  
Danny M. Adkison ◽  
Lisa McNair Palmer

In 1907, William Jennings Bryan described the proposed constitution for Oklahoma as “the best constitution in the United States today.” An enduring characteristic of Oklahoma’s constitution has been its faith in direct democracy and its root in Progressive Era politics. This book traces the historical formation and constitutional development of the state of Oklahoma. It provides commentary and analysis on the intent, politics, social and economic pressures, and the legal decisions that shaped and enhanced the Oklahoma constitution since it was adopted in 1907. The text gives a broad understanding of state constitutional law within the context of Oklahoma’s constitutional evolution.


Author(s):  
Matthew Walker

This chapter deals with the genesis of architectural knowledge. In particular, it explores those rare moments when early modern English authors wrote about newly discovered examples of ancient architecture, the most important forms of architectural knowledge that existed. I will discuss three such accounts (all published in the Philosophical Transactions) of Roman York, Palmyra, and ancient Athens. These three texts share a preoccupation with truth and accuracy, as befitted the task of communicating highly sought-after architectural knowledge. They also demonstrate the degree of confidence of English writers in this period, not only in how they interpreted ancient architecture, but also in how they sought to criticize previous European authors on the subject. But most importantly, these texts reveal the extent of English intellectuals’ knowledge of the architectural principles of the ancient world and how that knowledge was in a state of flux.


Author(s):  
Erika Fischer-Lichte

The book concludes with an epilogue entitled ‘The Return of Dionysus. From Festive Performances to Global Spectacle’. It very briefly retraces the exchange of productions of Greek tragedies between Germany and other countries and ends with the role played by productions of Greek tragedies today, at German as well as international theatre festivals, thus linking them back to the most important festival in ancient Athens, the Great Dionysia. After explaining how such festivals in Germany reassert the central position held by theatre in German culture, the epilogue ends with a short discussion of Jan Fabre’s twenty-four-hour performance Mount Olympus—to Glorify the Cult of Tragedy (Berliner Festspiele, June 2015) as an allegory of and a reflection on Greek tragedy’s endurance on the German stage.


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