Arts and Humanities Through the Eras: Ancient Greece and Rome (1200 B.C.E.- 476 C.E.)

516 Pages·2004·14.71 MB·english

by  John Allan Evans

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A R T S & H U M A N I T I E S
T h r o u g h t h e E ra s
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A R T S & H U M A N I T I E S
T h r o u g h t h e E ra s
Ancient Greece
and Rome
1200 . . .–476 . .
B C E C E
James Allan Evans, Editor
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Arts and Humanities Through The Eras: Ancient Greece and Rome (1200 B.C.E.–476 C.E.)
James Allan Evans
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LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA
Arts and humanities through the eras.
p. cm.
Includes bibliographical references and index.
ISBN 0-7876-5695-X (set hardcover : alk. paper) —
ISBN 0-7876-5696-8 (Renaissance Europe : alk. paper) —
ISBN 0-7876-5697-6 (Age of Baroque : alk. paper) —
ISBN 0-7876-5698-4 (Ancient Egypt : alk. paper) —
ISBN 0-7876-5699-2 (Ancient Greece : alk. paper) —
ISBN 0-7876-5700-X (Medieval Europe : alk. paper)
1. Arts—History. 2. Civilization—History.
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C O N T E N T S
ABOUT THE BOOK . . . . . . . . . . . . . . . . . . ix OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
TOPICS IN DANCE
CONTRIBUTORS . . . . . . . . . . . . . . . . . . . . xi
Dance in Prehistoric Greece. . . . . . . . . . . . . . . 48
ERA OVERVIEW . . . . . . . . . . . . . . . . . . . . xiii War Dances. . . . . . . . . . . . . . . . . . . . . . . . . . 52
Women’s Choruses. . . . . . . . . . . . . . . . . . . . . 57
CHRONOLOGY OF The Dithyramb . . . . . . . . . . . . . . . . . . . . . . . 57
WORLD EVENTS . . . . . . . . . . . . . . . . . xv Folk Dances. . . . . . . . . . . . . . . . . . . . . . . . . . 60
Dance in the Theater . . . . . . . . . . . . . . . . . . . 63
CHAPTER 1: ARCHITECTURE
Dionysian Dance . . . . . . . . . . . . . . . . . . . . . . 66
AND DESIGN
Professional Dancers. . . . . . . . . . . . . . . . . . . . 69
IMPORTANT EVENTS . . . . . . . . . . . . . . . . . . . . 2 Dance in Rome . . . . . . . . . . . . . . . . . . . . . . . 70
OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 SIGNIFICANT PEOPLE
TOPICS IN ARCHITECTURE AND DESIGN Arion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Surviving Sources. . . . . . . . . . . . . . . . . . . . . . . 5 Bathyllus and Pylades . . . . . . . . . . . . . . . . . . . 76
Minoan and Mycenaean Architecture . . . . . . . . . 8 Memphius. . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Greek Architecture . . . . . . . . . . . . . . . . . . . . . 12 Theodora. . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Etruscan Architecture . . . . . . . . . . . . . . . . . . . 24 DOCUMENTARY SOURCES . . . . . . . . . . . . . . . 78
Roman Architecture . . . . . . . . . . . . . . . . . . . . 25
The Late Antique. . . . . . . . . . . . . . . . . . . . . . 38 CHAPTER 3: FASHION
Early Christian and Byzantine Architecture. . . . . 39 IMPORTANT EVENTS . . . . . . . . . . . . . . . . . . . 80
SIGNIFICANT PEOPLE OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Hadrian. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 TOPICS IN FASHION
Pausanias. . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Fashion in the Minoan Period . . . . . . . . . . . . . 84
Plutarch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Garments in Classical Greece. . . . . . . . . . . . . . 86
Suetonius. . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
The Toga . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Vitruvius. . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
The Textiles of the Greek and Roman
DOCUMENTARY SOURCES . . . . . . . . . . . . . . . 42 World . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Dressing to Impress in Greece and Rome. . . . . 102
CHAPTER 2: DANCE
The Dress of Roman Women. . . . . . . . . . . . . 106
IMPORTANT EVENTS . . . . . . . . . . . . . . . . . . . 44 The Apparel of the Soldier. . . . . . . . . . . . . . . 109
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Contents
SIGNIFICANT PEOPLE Pindar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Alcibiades . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Claudius Ptolemy. . . . . . . . . . . . . . . . . . . . . 230
Constantius II . . . . . . . . . . . . . . . . . . . . . . . 114 Pythagoras. . . . . . . . . . . . . . . . . . . . . . . . . . 230
Diogenes. . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Sappho . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 115 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 231
CHAPTER 4: LITERATURE CHAPTER 6: PHILOSOPHY
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 118 IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 234
OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 120 OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 237
TOPICS IN LITERATURE TOPICS IN PHILOSOPHY
The Age of Homeric Epic . . . . . . . . . . . . . . . 122 Beginnings of Greek Philosophy. . . . . . . . . . . 240
The Boeotian School of Epic . . . . . . . . . . . . . 126 Pythagoras and the Pythagoreans . . . . . . . . . . 240
The Age of Lyric Poetry . . . . . . . . . . . . . . . . 128 Xenophanes, Heraclitus, and Parmenides. . . . . 242
Poets for Hire . . . . . . . . . . . . . . . . . . . . . . . 131 Empedocles, Anaxagoras, and the Atomists . . . 245
Herodotus, the Father of History . . . . . . . . . . 133 The Atomic Theory . . . . . . . . . . . . . . . . . . . 247
Thucydides . . . . . . . . . . . . . . . . . . . . . . . . . 136 The Sophists . . . . . . . . . . . . . . . . . . . . . . . . 248
History after Thucydides. . . . . . . . . . . . . . . . 137 Socrates. . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Greek Comedy. . . . . . . . . . . . . . . . . . . . . . . 138 Plato. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Greek Tragedy. . . . . . . . . . . . . . . . . . . . . . . 144 Aristotle. . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
The Art of Public Speaking in Greece. . . . . . . 154 The Stoics . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Greek Literature after Alexander the Other Philosophies in the Hellenistic
Great. . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 World . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Roman Theater . . . . . . . . . . . . . . . . . . . . . . 157 Epicurus . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Latin Poetry Before the Augustan Age. . . . . . . 160 Neoplatonism. . . . . . . . . . . . . . . . . . . . . . . . 272
Latin Prose Writers Before the Augustan
SIGNIFICANT PEOPLE
Age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Aristotle. . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
The Golden Age of Latin Literature
Epictetus . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Under Augustus. . . . . . . . . . . . . . . . . . . . . 164
Epicurus . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Latin Literature of the Silver Age . . . . . . . . . . 169
Plato. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Greek Literature of the Imperial Age. . . . . . . . 172
Plotinus. . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
SIGNIFICANT PEOPLE Thales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Aeschylus. . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Zeno of Citium . . . . . . . . . . . . . . . . . . . . . . 279
Cato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 280
Thucydides . . . . . . . . . . . . . . . . . . . . . . . . . 176
Vergil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
CHAPTER 7: RELIGION
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 178 IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 282
CHAPTER 5: MUSIC OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 285
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 182 TOPICS IN RELIGION
The Religion of Minoan Crete during
OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 187
the Bronze Age . . . . . . . . . . . . . . . . . . . . . 287
TOPICS IN MUSIC
The Early Greeks on Mainland Greece . . . . . . 291
Musical Instruments . . . . . . . . . . . . . . . . . . . 189
The Dark Ages. . . . . . . . . . . . . . . . . . . . . . . 292
Music in Greek Life . . . . . . . . . . . . . . . . . . . 198
The Gods of Olympus . . . . . . . . . . . . . . . . . 294
Music Education . . . . . . . . . . . . . . . . . . . . . 210
Other Gods Beyond the Twelve. . . . . . . . . . . 307
Music in Roman Life . . . . . . . . . . . . . . . . . . 212
The Underworld and its Inhabitants. . . . . . . . 309
Women in Ancient Music . . . . . . . . . . . . . . . 216
Heroes and Demigods. . . . . . . . . . . . . . . . . . 312
Music Theory. . . . . . . . . . . . . . . . . . . . . . . . 219
Heracles, the Super-Hero. . . . . . . . . . . . . . . . 314
SIGNIFICANT PEOPLE Discovering the Will of the Gods:
Aristoxenus . . . . . . . . . . . . . . . . . . . . . . . . . 228 Oracles and Divination. . . . . . . . . . . . . . . . 316
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Worshipping the Gods: Sacrifices and Sophocles. . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Temples. . . . . . . . . . . . . . . . . . . . . . . . . . 320 Terence. . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
The Religion of Early Rome. . . . . . . . . . . . . . 323
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 383
The Religion of the Roman Republic . . . . . . . 325
The Worship of the Roman Gods. . . . . . . . . . 328 CHAPTER 9: VISUAL ARTS
Immigrant Religions: the Arrival of New
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 386
Cults from the East . . . . . . . . . . . . . . . . . . 331
The Rise of Christianity . . . . . . . . . . . . . . . . 335 OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 390
SIGNIFICANT PEOPLE TOPICS IN VISUAL ARTS
Pottery in the Bronze Age . . . . . . . . . . . . . . . 392
Constantine. . . . . . . . . . . . . . . . . . . . . . . . . 338
The Early Pottery of Greece. . . . . . . . . . . . . . 394
Homer . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
The Dominance of Athens. . . . . . . . . . . . . . . 397
Numa Pompilius . . . . . . . . . . . . . . . . . . . . . 340
Hellenistic and Roman Pottery. . . . . . . . . . . . 402
St. Paul. . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Sculpture in Archaic Greece. . . . . . . . . . . . . . 404
Socrates. . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Sculpture of the Classical Period. . . . . . . . . . . 410
DOCUMENTARY SOURCES . . . . . . . . . . . . . . 342
The Hellenistic Period. . . . . . . . . . . . . . . . . . 420
Roman Sculpture . . . . . . . . . . . . . . . . . . . . . 425
CHAPTER 8: THEATER
Greek Painting. . . . . . . . . . . . . . . . . . . . . . . 429
IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 346
Roman Painting. . . . . . . . . . . . . . . . . . . . . . 435
OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Portraits. . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
TOPICS IN THEATER Mosaics. . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Origins of Greek Theater. . . . . . . . . . . . . . . . 351 SIGNIFICANT PEOPLE
Festivals and Theaters . . . . . . . . . . . . . . . . . . 352 Apelles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Types of Greek Drama . . . . . . . . . . . . . . . . . 357 Exekias . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
The Beginning of Roman Theater. . . . . . . . . . 366 Lysippus . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Roman Theaters, Playwrights, and Phidias . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Actors . . . . . . . . . . . . . . . . . . . . . . . . . . . 367 Polygnotus. . . . . . . . . . . . . . . . . . . . . . . . . . 453
Other Types of Roman Theater . . . . . . . . . . . 372
Praxiteles. . . . . . . . . . . . . . . . . . . . . . . . . . . 454
SIGNIFICANT PEOPLE Zeuxis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Aristophanes. . . . . . . . . . . . . . . . . . . . . . . . . 375 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 455
Euripides. . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Livius Andronicus. . . . . . . . . . . . . . . . . . . . . 377 GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . 457
Lycoris . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
FURTHER REFERENCES. . . . . . . . . . . . 475
Menander . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Gnaeus Naevius . . . . . . . . . . . . . . . . . . . . . . 379
MEDIA AND ONLINE SOURCES . . . . 483
Nero. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Titus Maccius Plautus. . . . . . . . . . . . . . . . . . 380 ACKNOWLEDGMENTS . . . . . . . . . . . . . 487
Quintus Roscius Gallus. . . . . . . . . . . . . . . . . 381
Seneca the Younger. . . . . . . . . . . . . . . . . . . . 381 INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
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A B O U T T H E B O O K
SEEING HISTORY FROM A DIFFERENT ANGLE. An Although treated in separate chapters, the connections
education in history involves more than facts concern- between these topics are highlighted both in the text and
ing the rise and fall of kings, the conquest of lands, and through the use of “See Also” references to give the reader
the major battles fought between nations. While these a broad perspective on the culture of the time period.
events are pivotal to the study of any time period, the Readers can learn about the impact of religion on liter-
cultural aspects are of equal value in understanding the ature; explore the close relationships between dance,
development of societies. Various forms of literature, music, and theater; and see parallel movements in ar-
the philosophical ideas developed, and even the type of chitecture and visual arts. The development of each of
clothes worn in a particular era provide important clues these fields is discussed within the context of important
about the values of a society, and when these arts and historical events so that the reader can see history from
humanities are studied in conjunction with political and a different angle. This angle is unique to this reference
historical events a more complete picture of that society work. Most history books about a particular time period
is revealed. This inter-disciplinary approach to studying only give a passing glance to the arts and humanities in
history is at the heart of the Arts and Humanities Through an effort to give the broadest historical treatment possi-
the Eras project. Patterned in its organization after the ble. Those reference books that do cover the arts and
successful American Decades, American Eras, and World humanities tend to cover only one of them, generally
Eras products, this reference work aims to expose the
across multiple time periods, making it difficult to draw
reader to an in-depth perspective on a particular era in
connections between disciplines and limiting the per-
history through the study of nine different arts and
spective of the discipline’s impact on a specific era. In
humanities topics:
Arts and Humanities Through the Eras each of the nine
• Architecture and Design disciplines is given substantial treatment in individual
chapters, and the focus on one era ensures that the analy-
• Dance
sis will be thorough.
• Fashion
AUDIENCEANDORGANIZATION.Arts and Human-
• Literature
ities Through the Eras is designed to meet the needs of
• Music
both the beginning and the advanced history student.
• Philosophy The material is written by subject experts and covers a
vast array of concepts and masterworks, yet these con-
• Religion
cepts are built “from the ground up” so that a reader
• Theater
with little or no background in history can follow them.
• Visual Arts Technical terms and other definitions appear both in the
ix
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About the Book
text and in the glossary, and the background of historical sites are subject to change and may become obsolete in
events is also provided. The organization of the volume the future.
facilitates learning at all levels by presenting information
PRIMARY DOCUMENTS AND ILLUSTRATIONS. In
in a variety of ways. Each chapter is organized accord-
an effort to provide the most in-depth perspective pos-
ing to the following structure:
sible, Arts and Humanities Through the Erasalso includes
• Chronology covering the important events in that numerous primary documents from the time period,
discipline during that era offering a first-hand account of the culture from the
people who lived in it. Letters, poems, essays, epitaphs,
• Brief overview of the development of that disci-
and songs are just some of the multitude of document
pline at the time
types included in this volume, all of which illuminate
• Topics that highlight the movements, schools of some aspect of the discipline being discussed. The text
thought, and masterworks that characterize the is further enhanced by 150 illustrations, maps, and line
discipline during that era drawings that bring a visual dimension to the learning
experience.
• Biographies of significant people in that discipline
• Documentary sources contemporary to the time CONTACT INFORMATION. The editors welcome
your comments and suggestions for enhancing and im-
period
proving Arts and Humanities Through the Eras. Please
This structure facilitates comparative analysis, both be- mail comments or suggestions to:
tween disciplines and also between volumes of Arts and
The Editor
Humanities Through the Eras, each of which covers a
different era. In addition, readers can access additional Arts and Humanities Through the Eras
research opportunities by looking at the “Further Refer- Thomson Gale
ences” and “Media and Online Sources” that appear at
27500 Drake Rd.
the back of the volume. While every effort was made to
Farmington Hills, MI 48331-3535
include only those online sources that are connected to
institutions such as museums and universities, the web- Phone: [phone]
x Arts and Humanities Through the Eras: Ancient Greece and Rome (1200 B.C.E.–476 C.E.)
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C O N T R I B U TO R S
James Allan Evans, Editor,received the Ph.D. in classics College from 1994–1998. At Arizona State, she is the
from Yale University in 1957 with a specialty in Greek founder and co-director of the undergraduate certificate
and Roman social and economic history. He was a program in classical studies, and she teaches courses in
Thomas Day Seymour fellow at the American School of ancient Greek and Latin language and on classical
Classical Studies in Athens, Greece, in 1954–1955, and mythology, culture, and literature. She is a recipient of
taught at Wilfrid Laurier University, the University of a Whiting Fellowship and an award from the Women’s
Texas at Austin, and McMaster University in Hamilton, Classical Caucus of the American Philological Associa-
Ontario, where he was a professor of ancient history. In tion. Professor George’s research interests range from
1972 he accepted a professorship at the University of Greek and Roman drama and Homer to Xenophon and
British Columbia, Vancouver, and taught there until gender studies in antiquity. Her publications include
his retirement as professor emeritus in 1996. Since retir- the forthcoming book Prostitutes in Plautus; articles on
ing he has been a visiting professor of history at the Plautus and Aeschylus; and chapters on ancient Greece
University of Washington, Seattle, a visiting special lec- and Rome in Mythologies of the World(New York,
turer at Simon Fraser University in Burnaby, Canada, 2001).
and a Whitehead Visiting Professor at the American
School of Classical Studies in Athens. He is the author John T. Kirby, Advisor,is professor of classics at Purdue
of A Social and Economic History of an Egyptian Temple University, where he has chaired the programs in classi-
in Greco-Roman Egypt(Yale Classical Studies, 17, 1961), cal studies and in comparative literature. His books in-
Procopius(Twayne, 1972), Herodotus(Twayne, 1982), clude The Rhetoric of Cicero’s Pro Cluentio(J. C. Gieben
Herodotus, Explorer of the Past: Three Essays(Princeton, 1990), The Comparative Reader(Chancery Press, 1998),
1991), The Age of Justinian: The Circumstances of Impe- Secret of the Muses Retold(University of Chicago Press,
rial Power(Routledge, 1996), and The Empress Theodora: 2000), Classical Greek Civilization(Gale Group, 2001),
Partner of Justinian(University of Texas Press, 2002). and The Roman Republic and Empire(Gale Group,
He was also editor of the series Studies in Medieval and 2001). His websites include the popular CORAX site
Renaissance History(AMS Press) from 1977 to 1996. In (www.corax.us), a hypersite that offers a comprehensive
1992 he was elected a fellow of the Royal Society of online classics curriculum. His awards and honors in-
Canada. He is presently writing a book on the intrigues clude a Morehead Scholarship, an NEH Fellowship,
and the power play of the Byzantine court in the period and teaching awards at the departmental, university,
of Justinian. state, regional, and national levels.
Lisa Rengo Georgereceived the Ph.D. in classics from Bryn William H. Peckwas educated at Ohio State University
Mawr College in 1997, and has been an assistant pro- and Wayne State University. For many years he was
fessor of classics in the Department of Languages and the curator of ancient art at the Detroit Institute of
Literatures at Arizona State University since 1999. She Arts where he was responsible for Greek, Roman, and
was a visiting assistant professor of classics at Skidmore Etruscan art as well as the art of Egypt and the Ancient
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Contributors
Near East. He has taught art history at the Cranbrook Nancy Sultanreceived the Ph.D. in comparative literature
Academy of Art, the University of Michigan, and from Harvard University in 1991. She joined the fac-
Wayne State University. He is currently teaching at ulty at Illinois Wesleyan in 1993, where she is professor
the College for Creative Studies in Detroit. His books and director of Greek and Roman studies, and chair of
include Drawings from Ancient Egypt(Thames and the Department of Modern and Classical Languages
Hudson, 1978), The Detroit Institute of Arts: A Brief and Literatures. Her scholarly interests are in the areas of
History (Detroit Institute of Arts), and Splendors of Hellenic cultural studies, oral poetics, ethnomusicology,
Ancient Egypt(Detroit Institute of Arts). He has pub- and gender studies. Relevant publications include a
lished scholarly and popular articles on Greek and book, Exile and the Poetics of Loss in Greek Tradition
Roman sculpture as well as Egyptian art and archaeol- (Rowman and Littlefield, 1999), and several articles on
ogy. He has many years of archaeological experience Greek musical traditions: “Private Speech, Public Pain:
resulting in a direct familiarity with ancient architec- The Power of Women’s Laments in Greek Poetry &
tural techniques. His travels in Europe, North Africa, Tragedy,” in Rediscovering the Muses: Women’s Musical
and the Near East have given him the opportunity to Traditions, ed. K. Marshall (Northeastern, 1992),
study firsthand the major monuments of architectural “Women in ‘Akritic’ Song: The Hero’s ‘Other’ Voice,”
history. He has been responsible for a number of exhibi- in The Journal of Modern Greek Studies(1991), and
tions at the Detroit Institute of Arts and has also lectured “New Light on the Function of ‘Borrowed Notes’ in
on art and archaeology throughout the United States Ancient Greek Music: A Look at Islamic Parallels,” in
and Canada. the Journal of Musicology(1988).
xii Arts and Humanities Through the Eras: Ancient Greece and Rome (1200 B.C.E.–476 C.E.)