A New InscribedKioniskosfrom Thebes

2006 ◽  
Vol 101 ◽  
pp. 369-377 ◽  
Author(s):  
Vassilis L. Aravantinos

A fragmentary inscription found at Thebes casts new light on the abortive invasion of Athens in 506 by Kleomenes, the Boiotians, and the Chalkidians. On the one hand, it provides valuable confirmation, soon after the event, of the general drift of Herodotos' account of events; on the other, even in its incomplete state, it adds one important detail lacking in Herodotos. And, of course, it tells the story from the Boiotian point of view.The excavation took place in the winter of the year 2001–2 in the property of Evanghelia Madhis at Thebes following her application for the construction of a new house. The plot is situated in the suburb of Pyri, in the north-west periphery of Thebes, about 800 m from the city centre of Thebes, and just beyond the Athens–Thessaloniki railway line (FIG. 1). In it was unearthed a well-built tomb-like cist, made of three rows of large conglomerate stone blocks in regular masonry; similar blocks form its pavement. No traces of covering stones or other relevant materials have so far been discovered. However, since the contents of the cist—including objects such as the bronze inscribed sheets found at the bottom—were probably thrown there when it was abandoned, it may never have been properly covered: no trace of a superstructure or roofing system is preserved on the upper surface of the walls of the cist.

2013 ◽  
Vol 29 (1) ◽  
pp. 35-47
Author(s):  
Claire Warden

The multi-spatial landscape of the North-West of England (Manchester–Salford and the surrounding area) provides the setting for Walter Greenwood's 1934 play Love on the Dole. Both the urban industrialized cityscape and the rural countryside that surrounds it are vital framing devices for the narrative – these spaces not simply acting as backdrops but taking on character roles. In this article Claire Warden reads the play's presentation of the North through the concept of landscape theatre, on the one hand, and Raymond Williams's city–country dialogism on the other, claiming that Love on the Dole is imbued with the revolutionary possibility that defines the very landscape in which it is set. From claustrophobic working-class kitchen to the open fields of Derbyshire, Love on the Dole has a sense of spatial ambition in which Greenwood regards all landscapes as tainted by the industrial world while maintaining their capacity to function independently. Ugliness and beauty, capitalist hegemony and socialistic hopefulness reside simultaneously in this important under-researched example of twentieth-century British theatre, thereby reflecting the ambivalent, shifting landscape of the North and producing a play that cannot be easily defined artistically or politically. Claire Warden is a Lecturer in Drama at the University of Lincoln. Her work focuses on peripheral British performances in the early to mid-twentieth century. She is the author of British Avant-Garde Theatre (Palgrave MacMillan, 2012) and is currently writing Modernist and Avant-Garde Performance: an Introduction for Edinburgh University Press, to be published in 2014.


1927 ◽  
Vol 64 (1) ◽  
pp. 10-26 ◽  
Author(s):  
R. H. Rastall

The foregoing sketch brings out marked resemblances in the geological features of eastern and southern England on the one hand, and the neighbouring parts of the continent on the other. In both areas we find an old plateau of pre-Devonian rocks, against which Devonian and Carboniferous rocks are violently thrust from the south by Armorican and Variscan folds, giving rise to highly complex coal-basins in Belgium, France and Somerset, a type of structure possibly to be encountered in the future in Kent. In Belgium this plateau sinks to the north-east under the Campine coalfield, while in England its north-west margin is complicated by the incidence of posthumous folds of Charnian strike.In eastern England, east of the Charnwood line, there is evidence for the existence of Professor Kendall's Willoughby axis, with north-west strike; between this and the Charnwood line there are indications of similar parallel buried trend-lines in the folding and faulting of the visible Yorks-Derby-Notts coalfield, and also, as suggested by Professor Fearnsides, in the general shape of this basin.Further to the north, however, the general line of the Cleveland and Market Weighton axes is not Charnian, being about west 5° north. The Market Weighton axis, which is of Charnian type, with many repeated movements, does not form the boundary of the coalfield; this is in fact constituted by the southern flank of the broad Cleveland uplift, which is of Wealden type; an anticline superposed on an earlier sinking area.


1969 ◽  
Vol 10 (1) ◽  
pp. 117-131 ◽  
Author(s):  
Earl Phillips

Following the establishment of the city-state of Abeokuta, the Egba and Owu returned to the forms of government known and respected before the retreat from the north, each township running its own affairs and reclaiming old prerogatives. This urban parochialism proved increasingly cumbersome after the death of Sodeke, when, without effective central leadership, the Ogboni and Ologun manœuvred for political predominance.These difficulties were compounded after mid-century as the tempo of economic and cultural change quickened in southern Yorubaland. The Egba were intent on establishing themselves as commercial middlemen between the coast and interior. On the one hand, they were thus drawn into the ever-widening focus of European economic and political influence and demands radiating from Lagos. On the other, seeds of change were planted at Abeokuta itself: European merchants, missionaries, and Saros, who were soon promoting new economic forms and demanding political expression.The formal appearance of the Saros as political contenders in 1860 coincided with the breakdown of the uneasy Yoruba peace. Their first bid for power was consequently unsuccessful, and, as the war progressed, the military became the controlling political force. In fact civil government came close to vanishing completely during the next five years, a point of near-anarchy being reached, and with deteriorating relations with Lagos.


1878 ◽  
Vol 10 (2) ◽  
pp. 285-304 ◽  
Author(s):  
Thos. W. Kingsmill

One of the most interesting migrations on record is that of the Yuehti from their old seats in the north-west of China to the site of the Greek kingdom of Bactria. Its interest is increased rather than diminished by the fact that we can trace its origin by the aid of authentic records, as well as from the knowledge that it was but one in a series, the original exciting cause of which still remains veiled in an obscurity apparently only to be pierced, on the one hand, by the geologist who shall work out the changes in the physical geology of Asia, within the human period, or, on the other, by the comparative mythologist, who, placing side by side the myths and traditions of its ancient inhabitants, sees, though dimly, some sort of order rising out of what, at first sight, is a veritable chaos.


2021 ◽  
Vol 102 (s1) ◽  
pp. s108-s129
Author(s):  
George F.G. Stanley

Good generalship requires imagination in the sense of foreseeing what the probable moves of the enemy may be; good military historiography requires not only imagination but the actual study of the documentary sources on each side. It is well known that military, like diplomatic history, is too often presented only from one point of view. A certain bias is unavoidable when the author is familiar with the movements of an army on one side of the hill but can only guess at those of the enemy on the other; an accurate picture of any war, campaign, or battle cannot be presented by a writer who is limited to the records, official and unofficial, available at one G.H.Q., but has nothing more than the conjectures of Intelligence as to what went on at the other.


2020 ◽  
pp. 130-155
Author(s):  
Mónica López Lerma

Chapter six turns to Marcelo Piñeyro’s El Método (2005) to examine a perceived tension in contemporary societies between the depoliticization of the public sphere and the opposite call for its repoliticization. The film productively presents this tension in two ways: first, by inviting viewers to participate in depoliticizing structures of power, and then by inviting them to question their role and responsibility in those structures. On the one hand, the film uses the cinematic split-screen technique to grant viewers a godlike perspective and ability to watch different actions and events synchronically, as if through a surveillance camera. Job candidates are scrutinized from the point of view of a multinational corporation during massive anti-corporate globalization protests in Madrid, which the mass media presents in dismissive terms. On the other hand, the film’s subtle use of sound effectively disrupts the complicity of the viewer in these structures and provides possibilities for political subjectivation. Drawing on the work of Michel Chion and Mdalen Dolar, the chapter shows how the “acousmatic sound” of protest irrupts into the viewer’s given space of the visible and provides avenues for what might be called a “sonic emancipation.”


Ikonotheka ◽  
2018 ◽  
Vol 27 ◽  
pp. 211-240
Author(s):  
Michał Wardzyński

Current research on Rococo sculpture in Mazovia and northern Lesser Poland has not taken into consideration Lvov Rococo sculpture. A total of thirteen works by a yet unidentified woodcarving workshop, probably of Lvov provenance, was located at the intersection of these two artistic regions, in the vicinity of Końskie, Opoczno, Przysucha and Rawa Mazowiecka. Its activity, commenced after 1780 in Pełczyska near Wiślica, lasted until ca. 1800, when the reredoses and lesser works of sculpture in Studzianna-Poświętne, Skrzyńsko, Nowy Kazanów, Końskie, Gowarczów, Drzewica, Rawa and Regnów were created. In formal terms, the anonymous “Master of Pełczyska”, as an epigone of the Lvov school of Rococo sculpture, shows a far-reaching dependency on the style of sculptures similar to that in the side altar of the Virgin Mary of Dzików in Tarnogród, in the Zamoyski family fee tail. This reredos was indirectly attributed to master Franciszek Olędzki from Lvov (active since 1771, d. 1792). The oeuvre of the “Master of Pełczyska” constitutes the second-largest assembly of Lvov Rococo sculptures outside the historical Ruthenian lands of the Crown of Poland. At the current stage of research, the discussed works, located at the intersection of the former Sandomierz and Rawa voivodeships, indicate the maximal influential range of these remarkably mobile artists towards the north-west of the Crown of Poland. Their migrations were directly connected, on the one hand, with the artistic crisis that followed the First Partition of the Commonwealth in 1772 and the annexation of Lvov by Austria, and, on the other hand, with the liquidation of monasteries after 1780 and the termination of existing ecclesiastic commissions. The short-lived activity of this workshop in the vicinity of Rawa is an important contribution to the research on the mosaic of external influences on provincial late Rococo sculpture in the fourth quarter of the 18th century in Mazovia.


1931 ◽  
Vol 11 (4) ◽  
pp. 382-398 ◽  
Author(s):  
E. Thurlow Leeds

Chastleton Camp, or Chastleton Barrow (pl. LIV, 1 and 2), as it is sometimes called, is situated at the south-east end of the parish, which projects like some huge spur from the north-west edge of the county and from the line of the road which on either side of the base of the spur for a short distance divides Oxfordshire from Gloucestershire on the one hand and from Warwickshire on the other. This road is an age-long trackway running diagonally across England by way of the Jurassic Belt from the Cotswolds to Northamptonshire, and is fringed by many remains of prehistoric man, in addition to the Rollright Stones and the dolmen known as the Whispering Knights. Along it must have moved the invaders of the early Iron Age to their conquest of the Midlands, establishing a line of strongholds of which Chastleton must in its original condition have been a formidable example.


Archaeologia ◽  
1898 ◽  
Vol 56 (1) ◽  
pp. 1-20 ◽  
Author(s):  
G. H. Engleheart ◽  
Charles H. Read ◽  
William Gowland

In the immediate neighbourhood of my house in the village of Appleshaw, on the north-western border of Hampshire, the sites are unusually close together of those dwellings of the Romano-British period which are, with a certain vagueness, termed Roman villas. Appleshaw is distant five miles north-west from Andover; one mile north of Andover two Roman roads intersect, the one running from Old Sarum north-easterly to Silchester, the other from Winchester north-westerly to Cirencester. At Finkley, close to the point of intersection, pottery and other Roman material has from time to time been unearthed, and the locality is one of those which have, by a somewhat unconvincing reference to the Antonine itinerary and to etymology, been identified with the unascertained site of Vindomis. Imagine these two roads at their crossing to stand like an upright capital X over the town of Andover, with that town in the lowest angle; my own nearer neighbourhood will lie in the western or left-hand angle. Three-quarters of a mile east of my house is the lately-examined site upon which I have to report particularly this evening. One mile north and a little west (all the distances mentioned are measured in radius from my house) is a villa on the Redenham estate, excavated some fifty years back by Sir John Pollen, the landowner. It appears that no plans were made and no record kept.


1906 ◽  
Vol 38 (3) ◽  
pp. 553-580
Author(s):  
W. Vost

Do the Chinese pilgrims know two cities named Kapilavastu?Certain discords and bearings in the itineraries of the pilgrims are discussed in the Prefatory Note to Antiquities in the Tarai, Nepal, and from them it is inferred there were two cities named Kapilavastu; one the city visited by Fa-hsien, now represented by the ruins at Piprāhavā; the other that described by Yuan Chwang, of which the “royal precincts” are found in Tilaurā Koṭ, some ten miles to the north-west of Piprāhavā. Paltā Devī is held to mark the site of the town either of the Buddha Krakucandra or of the Buddha Koṇāgamana; or Sisaniā Pānḍe may represent the town of Koṇāgamana. Guṭihavā is believed to represent the site of the famous Nyagrodha grove.


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