and of itself. Therefore‚ as the Greeks were absorbed by the Romans‚ the Romans‚ not having great raconteur before the Greek integration‚ that I’m aware of‚ adopted the Greek stories modified as their own. Relief with a dancing maenad‚ ca. 27 b.c.–14 a.d.; Augustan Roman copy of a Greek relief attributed to Kallimachos‚ c 425–400 BC Figure 1 - (Bealby‚ n.d.‚ pg. 46)
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cannot help but link the two as the maenads mirror the hounds of Artemis from a generation earlier that turned against Actaeon. For my research paper‚ I will explore the relationship between women in Greek antiquity and the social function of the wild in religious rituals‚ proposing that the wild acts as a pharmakos to adapt young girls to the domesticated life of wives. As case studies‚ I will be gesturing to both the Arkteia at Brauron‚ as well as the Bacchic maenads found in Euripides’ Bacchae. As
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Another example of Peisistratus’ major work projects that helped solidify his power was his influence on the influx of mythological scenes that depicted Herakles on vase painting and other major works. One example of this is the Andokides Painter vase. During the time of the creation of the Andokides vase‚ Peisistratos was in his final years of being the tyrant of Athens. Throughout his tyranny‚ Peisistratos used diplomacy with his fellow aristocrats and established support policies for the poor
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Style I‚ known as incrustation‚ began approximately during the second century b.c. This style features the strong influence of the Hellenistic Greek period in its surface decoration. At the Samnite House at Herculaneum‚ walls are painted as faux marble slabs. This is very typical of the influence of Hellenistic Greece. There is a three fold division of a Roman wall during this time. The dado is at the bottom‚ the middle section imitates the stone slabs‚ and the upper part features a cornice and
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Sylvia Plath’s “Daddy” is a poem that takes the reader through Plath’s life with an oppressive father. Through detailed‚ five-line stanzas she gives examples to compare her life to that of a Jew or to the lady that lived in a shoe. Plath uses visual imagery of a Nazi‚ in particular‚ Adolf Hitler to describe her father’s oppressive ways. The poem gives off a very weary perception of Plath fighting emotionally to get away from the life of silence and abuse. Moving deeper through Plath’s poem‚ she depicts
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70-82 C.E. The Pantheon‚ 118-125 C.E. Maisson Carree‚ Nimes‚ France‚ c.a. 19 B.C.E. Trajan’s Victory Column‚ Rome‚ 113 C.E. Detail from Trajan’s Column‚ Rome‚ 113 C.E. Arch of Titus‚ Rome‚ c.a. 81 C.E. Spoils from the Temple in Jerusalem‚ Relief from the Arch of Titus‚ Rome‚ c.a. 81 C.E. Hadrian Sacrificing to Apollo‚ ca. 130-138 C.E. Equestrian Statue of Marcus Aurelius‚ c.a. 173 C.E. Roman Aristocrat holding Portrait Busts of His Ancestors‚ late first century B.C.E. Atrium‚ House of
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scene (University Press Inc‚ 2003). Live music is used to build tension as when Dionysus enters the drumming becomes faster. The Bacchic women perform a ritualistic dance routine paired with live music to create tension and an eerie mood. Their dancing is Suzuki inspired therefore being very strong ‚ animalistic and sexual showing Dionysus is controlling the women as he is the god of fertility (Tadashi Suzuki‚ 1986). Dionysus himself draws on both Butoh and Suzuki styles as his lower body is strong
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have decorated exteriors but rather plain interiors. Few other examples remain as other structures were typically made of wood‚ plaster and mud and‚ as such‚ did not survive the test of time. The temples were usually constructed of limestone and marble.1 Of post and lintel construction‚ these temples were typically rectilinear‚ and often supported by columns. These columns can be divided into three respective orders; Doric‚ Ionic and Corinthian‚ with each having their own specific attributes.2 The
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Dionysus and his Bacchic worship. Referred to in the opening ode as the “god of laughter”‚ Dionysus embodies freedom and ecstasy‚ offering his devotees wine‚ a “gift that charms all griefs away”. He is presented as youthful and seductive‚ attracting the Maenads through his sensual‚ “effeminate” beauty. Euripides endorses the embracing of this passionate side by capturing the beauty of living in harmony with nature. An integral part of ancient Greek theatre‚ the Chorus‚ announces that the “earth flows with
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THE BACCHAE TODAY: MAENADS OF CHANGE The ancient Greek gods are known for being human-like in their jealousy and anger‚ yet beyond human compassion‚ and Dionysus in Euripides’ The Bacchae is no exception. Accompanied by his followers‚ liberated‚ frenzied women known as the Maenads or Bacchae‚ Dionysus comes to Thebes‚ Greece from Asia‚ as a new god. They are rejected by the Thebans and the god plans to retaliate. “...Here I plead the cause of my own mother‚ Semele‚ appearing as a god to mortal
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