Ships in Greek Vase-Painting

1949 ◽  
Vol 18 (54) ◽  
pp. 126-137 ◽  
Author(s):  
R. T. Williams

From the several references to the crews of ships in theIliadand theOdysseyit can be seen that the complement of oarsmen is usually twenty. I assume that Homer is describing the Heroic ships, the ships of the Achaeans, and not necessarily the ships of the time in which he lived. However, naval specialists from the west of Greece, like the Phaeacians, were able to build larger ships; for they sent Odysseus home to Ithaca in a ship with a crew of fifty-two. The ship, too, in which Odysseus left Troy must have been about this size; by the time it had reached Circe's island its complement had been reduced to forty-six, including Odysseus and Eurylochus, but then there had been casualties. Each of the ships which originally left Troy with Odysseus had lost six men during the attack of the Cicones; had it not been for this loss, then, the crew would have been fifty-two. It is true that Odysseus' particular ship had lost six men to Cyclops as well; but it is likely that Odysseus' ship would have been made up to strength from the other ships after the incident. It is at any rate clear that Odysseus' ship had a crew ofabout fifty, and that the pentekontor, although Homer does not use the actual word π∊ντηκóντoρoς, was in use at the time of the Trojan War.This deduction is supported by a Mycenaean vase decorated with a ship, found during the excavation of the Tragana Tholos Tomb at Pylos (Koryphasion) and dated by Furumark to 1230–1100.

2015 ◽  
Vol 47 (2) ◽  
pp. 133 ◽  
Author(s):  
Sotiris Alexiou ◽  
Claudio Di Russo ◽  
Mauro Rampini

Two species, <em>D. octhoniai</em> from Evvia and<em> D. saraolacosi</em> from Skyros island (Greece) are morphologically described. These two species were collected for the first time at the end of the ‘70s but they were recorded only as nomina nuda without any formal taxonomic description<em>. D. octhoniai</em> is very similar to the other Evvian species <em>D. makrikapa</em> and to<em> D. vandeli</em> and D<em>. petrochilosi</em> from Viotia and Attiki respectively, differing from them only by a few morphological characters. On the other hand<em> D. saraolacos</em>i is very different from all the other species of Central Greece and West Aegean showing some affinity only with the Attiki species <em>D</em>. <em>insignis</em> and with the South Evvian species<em> D. cassagnaui.</em> Relationships among the species inhabiting caves of this area of Greece are discussed in relation to the complex geological history of the West Aegean area and the adjacent mainland.


1932 ◽  
Vol 1 (3) ◽  
pp. 137-142
Author(s):  
T. B. L. Webster

The Persian wars is a vague term. I use it to cover the A period between the battle of Marathon (490 B.c.) and the peace of Callias (448 B.c.): I use it merely as a label, and do not wish to imply that the Persian wars were the cause of the change which takes place in Greek art during that period. This change can be seen in all the arts: in sculpture the landmarks are the west pediment of the temple of Aphaia at Aegina, the east pediment of the same temple, the west pediment of the temple of Zeus at Olympia, and the east pediment of the same temple: in literature the change is perhaps more easily traced in the works of Pindar than elsewhere. In the early odes, e.g. Pythian X (498 B.c.), the connexion of the myth with the rest is purely external, for it is linked on by the one word ΥΠερβορέων, in the later odes the whole is often subordinated to the moral which Pindar wishes to point: in Pythian IV (462 B.c.) the moral is ‘Do not banish good men’, and the myth of Pelias and Jason gives a disastrous instance. The earlier ode is composed of beautiful parts loosely joined together, the later is an organic unity with a moral purpose running through the whole. This same change can be traced in Greek vases. Here we have a large number of works of art which can be dated with considerable accuracy and assigned to particular painters. The criteria for dating need not be considered here: the attribution to painters is largely the work of J. D. Beazley and rests ultimately on stylistic grounds. In some cases we have signatures and can call the painter by his name, e.g. Euphronios, Euthymides, but more often none of the vases are signed and the names are conventional, e.g. Berlin painter, Niobid painter. I shall consider in turn subjects, composition of the whole picture, and composition of the single figure,2 during two periods, the ‘ripe archaic’ and the ‘early classical’, which are bounded on the one side by the ‘early ripe archaic’, on the other by the ‘classical’: the late works of Euphronios and Euthymides (early ripe archaic) with the early works of the Berlin painter and his fellows (ripe archaic) are to be dated in the decade 500–490 B.c., the ripe works of the Berlin painter and his fellows from 490 to 480 B.c., the late works of these painters 480 to 470: then come the ‘early classical’ painters, the Penthesilea painter, the Niobid painter, &c., till 450; with the Achilles painter the other boundary is crossed into the ‘classical’ period.1


2017 ◽  
Vol 5 (1) ◽  
pp. 78
Author(s):  
Aysel KAMAL ◽  
Sinem ATIS

Ahmet Hamdi Tanpinar (1901-1962) is one of the most controversial authors in the 20th century Turkish literature. Literature critics find it difficult to place him in a school of literature and thought. There are many reasons that they have caused Tanpinar to give the impression of ambiguity in his thoughts through his literary works. One of them is that he is always open to (even admires) the "other" thought to a certain age, and he considers synthesis thinking at later ages. Tanpinar states in the letter that he wrote to a young lady from Antalya that he composed the foundations of his first period aesthetics due to the contributions from western (French) writers. The influence of the western writers on him has also inspired his interest in the materialist culture of the West. In 1953 and 1959 he organized two tours to Europe in order to see places where Western thought and culture were produced. He shared his impressions that he gained in European countries in his literary works. In the literary works of Tanpinar, Europe comes out as an aesthetic object. The most dominant facts of this aesthetic are music, painting, etc. In this work, in the writings of Tanpinar about the countries that he travelled in Europe, some factors were detected like European culture, lifestyle, socio-cultural relations, art and architecture, political and social history and so on. And the effects of European countries were compared with Tanpinar’s thought and aesthetics. Keywords: Ahmet Hamdi Tanpinar, Europe, poetry, music, painting, culture, life


Author(s):  
Celine Parreñas Shimizu

Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the United States and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators, for they represent new ways of world-making we cannot unsee, unhear, or unfeel. The spectator is redirected to go beyond the rapture of consuming the other to the rupture that arises from witnessing pain and suffering. Self-displacement is what proximity to intimate inequality in cinema ultimately compels and demands so as to establish an ethical way of relating to others. In undoing the spectator, the voice of the transnational filmmaker emerges. Not only do we need to listen to filmmakers from outside Hollywood who unflinchingly engage the inexpressibility of difference, we need to make room for critics and theorists who prioritize the subjectivities of others. When the demographics of filmmakers and film scholars are not as diverse as its spectators, films narrow our worldviews. To recognize our culpability in the denigration of others unleashes the power of cinema. The unbearability of stories we don’t want to watch and don’t want to feel must be borne.


2020 ◽  
Vol 145 (2) ◽  
pp. 495-505
Author(s):  
EIRINI DIAMANTOULI

Ideologically motivated attempts to elucidate Shostakovich’s political views and to determine whether and how they may be coded into his compositions have come to characterize the Western reception of the composer’s works since his death in 1975. Fuelled by the political oppositions of the cold war, Shostakovich’s posthumous reputation in the West has been largely shaped by two conflicting perspectives. These have positioned him on the one hand as a secret dissident, bent and broken under the unbearable strain of totalitarianism, made heroic through his veiled musical resistance to Communism; and on the other hand as a composer compromised by his capitulation to the regime – represented in an anachronistic musical style. Both perspectives surrender Shostakovich and his music to a crude oversimplification driven by vested political interests. Western listeners thus conditioned are primed to hear either the coded dissidence of a tragic victim of Communist brutality or the sinister submission of a ‘loyal son of the Communist Party’.1 For those prepared to accept Shostakovich as a ‘tragic victim’, the publication of his purported memoirs in 1979, ‘as related to and edited by’ the author Solomon Volkov, presents a tantalizing conclusion: bitterly yet discreetly scornful of the Stalinist regime, Shostakovich was indeed a secret dissident and this dissidence was made tangible in his music.


Matatu ◽  
2006 ◽  
Vol 33 (1) ◽  
pp. 115-134 ◽  
Author(s):  
Chantal Zabus

The essay shows how Ezenwa–Ohaeto's poetry in pidgin, particularly in his collection (1988), emblematizes a linguistic interface between, on the one hand, the pseudo-pidgin of Onitsha Market pamphleteers of the 1950s and 1960s (including in its gendered guise as in Cyprian Ekwensi) and, on the other, its quasicreolized form in contemporary news and television and radio dramas as well as a potential first language. While locating Nigerian Pidgin or EnPi in the wider context of the emergence of pidgins on the West African Coast, the essay also draws on examples from Joyce Cary, Frank Aig–Imoukhuede, Ogali A. Ogali, Ola Rotimi, Wole Soyinka, and Tunde Fatunde among others. It is not by default but out of choice and with their 'informed consent' that EnPi writers such as Ezenwa–Ohaeto contributed to the unfinished plot of the pidgin–creole continuum.


1956 ◽  
Vol 8 (3) ◽  
pp. 355-373 ◽  
Author(s):  
R. A. C. Parker

ON March 7, 1936, German troops entered the demilitarized zone of the Rhineland. Germany thus violated Articles 42 and 43 of the Treaty of Versailles and Articles 1 and 2 of the Treaty of Locarno of 1925. Remilitarization moved forward for about one hundred miles the areas of concentration for any German armed attack in the west and advanced the defensive line that could be held by the German army. It severely weakened France and, in consequence, all the other powers concerned to maintain the Paris peace settlements and to preserve the peace of Europe.


1999 ◽  
Vol 13 (1) ◽  
pp. 25-32 ◽  
Author(s):  
J. H. Vaux ◽  
M. P. S. F. Gomes ◽  
R. J. Grieve ◽  
S. W. Woolgar

This paper addresses differences in the way that the problems of small UK firms are construed by policy makers on the one hand, and by the executives of small companies on the other. The authors employ a discursively-based analysis of interviews carried out with managers of small manufacturing companies in the West London area. They suggest that SME executives construe their attitudes to advanced technology and innovation within the terms of some clear, but implicit management values which tend to lead to the perception of innovation as a risk to be managed, rather than an opportunity to be exploited. It is suggested this has significant implications for attempts to change small company culture.


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