scholarly journals Helenê kinêmatographikê; or, Is this the face that launched a thousand films?

2016 ◽  
Vol 12 (1) ◽  
pp. 215-257
Author(s):  
Martin M. Winkler

In ancient Greece and Rome, Helen of Troy was the most beautiful woman among mortals. Her beauty, an almost divine quality, made Helen immortal. Its praise was an integral part of Greek and Roman letters. The cinema has eagerly followed in the footsteps of classical and later authors and artists by retelling her story. Beautiful actresses have variously portrayed her as unhappy wife of Menelaus, romantic lover of Paris, and ruinous cause of the Trojan War. This paper pays homage to Helen’s beauty by presenting, in word and image, her most notable screen incarnations from 1911 to 2013.

Author(s):  
Hans van Wees

This article examines genocide in the ancient world, by examining European literature and comparing the atrocities committed during the events of the Trojan War. The massacre of all Troy's male inhabitants and the enslavement of its women and children were fictional, but it had many counterparts in ancient history. It was almost the normative form of genocide in ancient Greece and some other parts of the ancient world, although mass enslavements and mass executions which made no distinctions of gender or age are also widely attested. The Greeks' reasons for treating the Trojans so brutally were typical of the motivations for genocide in antiquity: it was usually an act of ‘conspicuous destruction’, a display of force designed to assert the power and status of the perpetrator in the face of a perceived challenge. Ancient genocide sometimes had a religious dimension.


Author(s):  
Lowell Edmunds

It's a familiar story: a beautiful woman is abducted and her husband journeys to recover her. This story's best-known incarnation is also a central Greek myth—the abduction of Helen that led to the Trojan War. Stealing Helen surveys a vast range of folktales and texts exhibiting the story pattern of the abducted beautiful wife and makes a detailed comparison with the Helen of Troy myth. This book shows that certain Sanskrit, Welsh, and Old Irish texts suggest there was an Indo-European story of the abducted wife before the Helen myth of the Iliad became known. Investigating Helen's status in ancient Greek sources, the book argues that if Helen was just one trope of the abducted wife, the quest for Helen's origin in Spartan cult can be abandoned, as can the quest for an Indo-European goddess who grew into the Helen myth. The book explains that Helen was not a divine essence but a narrative figure that could replicate itself as needed, at various times or places in ancient Greece. It recovers some of these narrative Helens, such as those of the Pythagoreans and of Simon Magus, which then inspired the Helens of the Faust legend and Goethe. This book offers a detailed critique of prevailing views behind the “real” Helen and presents an eye-opening exploration of the many sources for this international mythical and literary icon.


2019 ◽  
Vol 25 (10) ◽  
pp. 1067-1073
Author(s):  
Paolo Pozzilli ◽  
Luca Vollero ◽  
Anna Maria Colao

Objective: Simonetta Vespucci, considered the most beautiful woman of the Renaissance, is the inspiration and face of one of the most famous paintings of all times, “The Birth of Venus,” by Botticelli. She died in 1476 at the age of 23 years. We postulate she suffered from a pituitary-secreting tumor progressing to pituitary apoplexy. The goals of this study were 3-fold: (i) verify that the subject depicted by Botticelli in different paintings represents the same woman; (ii) identify the facial traits affected by the progression of a growth hormone– and prolactin-secreting tumor; and (iii) confirm that the observed changes of the face traits observed in the portraits of Simonetta Vespucci are compatible with the facial traits changes identified earlier. Methods: Comparison among face traits was based on the analysis of the face regions measured by means of fiducial points and their distances, and after pose compensation based on three-dimensional head modelling. Results: In favor of the hypothesis that Simonetta suffered from a pituitary growth hormone– and prolactin-secreting tumor stands changes of her lineaments, a feature which becomes evident over the years and particularly manifest in the Allegorical Lady, where galactorrhea is depicted. Conclusion: We conclude that sufficient evidence is presented to suggest that Simonetta Vespucci, the Venus depicted by Botticelli, suffered from pituitary adenoma secreting prolactin and growth hormon with parasellar expansion. The current interpretation of the Venus strabism should be revisited according to this finding. Abbreviation: GH = growth hormone


2021 ◽  
Vol 69 (1) ◽  
pp. 173-185
Author(s):  
Lada Stevanovic

Through the interpretation of the movie Never on Sunday (1960) by Jules Dassin, this paper opens some important epistemological questions from the feminist perspective. Namely, the film is set in the contemporary Greece, while the main characters are a prostitute Ilia and an American tourist Homer, who is at the same time disappointed in Greece and in the beautiful woman he meets. His inability to understand people and social context in which he finds himself, as well as his effort to educate Ilia and impose her his own values and ideas about ancient Greece reveal much of chauvinism and cultural colonialism, opening questions crucial for feminist and other critical epistemologies which are: who produces knowledge, for whom and how to approach it critically. Finally, through the interpretation of Ilia?s attitude to knowledge, I will turn also to the feminist notion of embodied feminist subject. Apart from that, I will deal with hegemonic attitude of the West towards ancient Greek past.


Author(s):  
Alain Schnapp

The term ruins (ereipia) in Greek derives from the verb ereipo, meaning to cut down, to cause to fall, as already documented by Homer. If the word appears in Herodotus, it is rarely found in the corpus of Greek tragedies and in Thucydides: ruins do not constitute a prominent theme before the Hellenistic period. It is not until Latin poetry that poetic nostalgia becomes a key element in sensitivity to the past. For Sophocles, Euripides and Aeschylus, Troy is the setting of a massive and sudden destruction, a vast area of rubble devastated by pillage and fire; it is not yet a ruin. Things are different in the case of Latin poetry, which constructs a topos of the deserted and abandoned city from the image of the city’s destruction. In order for the feeling of ruins to be expressed as a melancholy in the face of vestiges, which are nothing more than traces of a former flourishing life or of a splendid monument reduced to some blocks of stone, it is necessary for time to take its toll and for the poet to get to grips with the feeling of loss which ensues (Papini 2011).


2020 ◽  
Vol 33 ◽  
Author(s):  
Sarah Roberts

Acknowledging the limits of theatre activism in the face of escalating displays of power and social injustices which define a contemporary context for staging Shakespearean (and classical) tragedy, this article reflects on the Take Away Shakespeare Company production of King Lear (1998) and on Jonathan Munby’s National Theatre production of the play (2018). As a member of the creative team of the 1998 production, the author takes on the quasi-archaeological exercise of piecing together residual fragments. Following Stephen Halliwell, the article revisits the value of pity and fear as critical tools for analysing modes of response, since these may be more analytically productive than empathy, which suffers from extended application and overuse. The roles of spectator and designer both raise pressing questions about theatre as a medium in relation to the intertwining of form and reception. The affective impact of intertwined word and image – actor and object – invites analysis of the rhetoric of the objects embedded in the action of Shakespeare’s plays. In King Lear, variously deployed, ‘things’ augment words as crucial mechanisms for advancing action and staging violations of human life and dignity, triggering responses of pity and fear.


2020 ◽  
Vol 4 (2) ◽  
pp. 1-109
Author(s):  
J. Sage Elwell

Abstract This slim volume offers a thematic exploration of religion and the digital arts. Over the course of six brief sections, this extended essay examines identity and community, authority and authenticity, word and image, ritual and practice, body and space, and myth and faith. Each of these paired sets is explored in concert with technologically inflected correlates. For instance, identity and community are paired with avatars and networks. These twin concepts provide the thematic anchor of each section. Each section looks at four works of digital art with each work employing digital technology in a unique way. The works include virtual and augmented reality pieces, 3D printed sculptures, digital photography, and digitally enabled performance pieces and installations and span the late 1990s to the present. This essay is an introduction to religion and the digital arts and, while no single conclusion can be drawn from such an expansive and diverse field, the reassertion of the religious and theological importance of the body and emotions in the face of digital technology emerges as a recurrent theme.


2017 ◽  
Vol 21 (2) ◽  
pp. 103-122 ◽  
Author(s):  
Hugo Mercier

A long tradition of scholarship, from ancient Greece to Marxism or some contemporary social psychology, portrays humans as strongly gullible—wont to accept harmful messages by being unduly deferent. However, if humans are reasonably well adapted, they should not be strongly gullible: they should be vigilant toward communicated information. Evidence from experimental psychology reveals that humans are equipped with well-functioning mechanisms of epistemic vigilance. They check the plausibility of messages against their background beliefs, calibrate their trust as a function of the source's competence and benevolence, and critically evaluate arguments offered to them. Even if humans are equipped with well-functioning mechanisms of epistemic vigilance, an adaptive lag might render them gullible in the face of new challenges, from clever marketing to omnipresent propaganda. I review evidence from different cultural domains often taken as proof of strong gullibility: religion, demagoguery, propaganda, political campaigns, advertising, erroneous medical beliefs, and rumors. Converging evidence reveals that communication is much less influential than often believed—that religious proselytizing, propaganda, advertising, and so forth are generally not very effective at changing people's minds. Beliefs that lead to costly behavior are even less likely to be accepted. Finally, it is also argued that most cases of acceptance of misguided communicated information do not stem from undue deference, but from a fit between the communicated information and the audience's preexisting beliefs.


Author(s):  
Tonio Hölscher

This book aims to explore the aspects of visuality in Greek and Roman culture, comprising the visual appearance of images as well as the reality of the social world. The face-to-face societies of ancient Greece and Rome were to a high degree based on civic presence and direct, immediate social interaction in which visual appearance and experience of beings and things was of paramount importance. The six chapters of the book are dedicated to action in space, memory over time, the appearance of the person, conceptualization of reality, and, finally, presentification and decor as fundamental categories of art in social practice.


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