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

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AHTTE.AncntGrc-Rm.tpgs 9/14/04 12:11 PM Page 1 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 AHTTE.AncntGrc-Rm.tpgs 9/14/04 12:11 PM Page 3 \ 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 69742_AHTE_AGRfm_iv-xxxiv.qxd 9/21/04 1:24 PM Page iv Arts and Humanities Through The Eras: Ancient Greece and Rome (1200 B.C.E.–476 C.E.) James Allan Evans Project Editor Indexing Services Composition and Electronic Prepress Rebecca Parks Barbara Koch Evi Seoud Editorial Imaging and Multimedia Manufacturing Danielle Behr, Andrew Claps, Pamela A. Dear, Randy Bassett, Mary K. Grimes, Lezlie Light, Wendy Blurton Jason Everett, Dwayne Hayes, Rachel J. Kain, Michael Logusz, Christine O’Bryan, Kelly A. Ralph G. 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Permissions Hotline: ment of the editors or publisher. Errors 248-699-8006 or 800-877-4253, ext. 8006 brought to the attention of the publisher and Fax: 248-699-8074 or 800-762-4058 verified to the satisfaction of the publisher will be corrected in future editions. 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. NX440.A787 2004 700’.9—dc22 2004010243 This title is also available as an e-book. ISBN 0-7876-9384-7 (set) Contact your Thomson Gale sales representative for ordering information. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 69742_AHTE_AGRfm_iv-xxxiv.qxd 9/21/04 1:24 PM Page v \ 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 v 69742_AHTE_AGRfm_iv-xxxiv.qxd 9/21/04 1:24 PM Page vi 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 vi Arts and Humanities Through the Eras: Ancient Greece and Rome (1200 B.C.E.–476 C.E.) 69742_AHTE_AGRfm_iv-xxxiv.qxd 9/21/04 1:24 PM Page vii Contents 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 Arts and Humanities Through the Eras: Ancient Greece and Rome (1200 B.C.E.–476 C.E.) vii 69742_AHTE_AGRfm_iv-xxxiv.qxd 9/21/04 1:24 PM Page ix \ 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 69742_AHTE_AGRfm_iv-xxxiv.qxd 9/21/04 1:24 PM Page x 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: (800) 347-4253 x Arts and Humanities Through the Eras: Ancient Greece and Rome (1200 B.C.E.–476 C.E.) 69742_AHTE_AGRfm_iv-xxxiv.qxd 9/21/04 1:24 PM Page xi \ 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 xi 69742_AHTE_AGRfm_iv-xxxiv.qxd 9/21/04 1:24 PM Page xii 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.)

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